‘Behemoth!’ Review: Pedro Pascal’s Cellist Finds His Way Through a Gilroy-Produced Music Drama

In the landscape of cinematic portrayals of classical music, Todd Field’s “Tár” remains the reigning masterpiece, though films like “Mr. Holland’s Opus” and “Maestro” also capture the genre’s reality with varying degrees of depth. Against this high bar, Tony Gilroy’s new drama “Behemoth!” follows Alex Serian, a renowned cellist portrayed by Pedro Pascal, as he navigates the precarious state of modern orchestral performance.

Pascal’s character has toured with world-class ensembles, including in Chicago, but the film highlights the contemporary economic struggles facing musicians. With traditional orchestras under financial strain, Alex survives by recording movie scores—a high-stakes environment depicted with reverent accuracy. The film immerses viewers in the cavernous studios where conductors, such as a hyper-demanding role played by Thomas Kretschmann, enforce corporate perfectionism, blending classical terminology with Hollywood jargon.

A standout achievement of the production is its authenticity. Unlike many films where actors mime playing instruments, Gilroy ensured Pascal learned to play the cello, resulting in realistic vibrato and bowing that lends credibility to Alex’s portrayal as a child prodigy from a tumultuous musical family.

Gilroy, making his first feature since 2012’s “The Bourne Legacy,” infuses the project with the playful energy of his recent work on “Andor.” The film employs a meta-narrative device, shifting between suspenseful session recordings and the actual score of “Behemoth!,” featuring contributions from a collective of acclaimed composers including James Newton Howard and Alan Silvestri.

The narrative structure is elliptical, jumping through time much like “Tár,” though this sometimes causes confusion regarding the timeline of events, particularly during an affair with Carol, played by Olivia Wilde, whose intense behavior contrasts with Pascal’s placid demeanor. Alex eventually returns to Los Angeles, where he becomes fixated on Viviana, a teenage avant-pop composer played by Alexa Swinton, who reveals a personal connection to Nadia, a violinist from Alex’s past.

Supporting performances include Will Arnett as Alex’s self-doubting podcast-host brother, providing emotional context through their conversations. The film builds to a suspenseful climax where Alex infiltrates a wealthy estate, underscored by dramatic orchestral music.

While the title may be difficult to recall, “Behemoth!” succeeds as a stylish, if occasionally confusing, exploration of artistic drift and midlife reckoning, showcasing Gilroy’s continued interest in blending emotional depth with cinematic form.