The word Behemoth carries two distinct meanings. In biblical Hebrew, the Behemoth is a primordial creature described in the Book of Job, created by God at the dawn of existence: “Look at Behemoth, which I made along with you!” Often associated with chaos and humanity’s insignificance in the face of creation, the creature represents something beyond our understanding or control.
Over the centuries, the word has shed some of its biblical mysticism, finding new life in the modern English lexicon. Today, a behemoth is something colossal, formidable, almost impossible to contain; a force whose sheer scale inspires as much awe as it does apprehension.
Tony Gilroy’s Behemoth! walks the line between these two definitions, exploring both the chaos of human existence and the overwhelming scale of the emotions that accompany it. At its centre is Alex Serian (Pedro Pascal), a gifted cellist struggling to find balance in a life defined by uncertainty, fractured relationships, and an inability to escape his past.
We first meet Alex in Los Angeles, struggling to digest the past, and lending his musical talents to film scores whenever work presents itself. From there, the film moves backwards and forwards through his recent experiences, taking us from Chicago to Dallas and beyond. Along the way, Alex drifts between short-lived relationships, often appearing more comfortable running away from emotional intimacy than confronting the reasons behind its collapse. His life is one of perpetual movement, yet for all the distance he travels, he never seems to get very far.
It is here that the film’s non-linear structure becomes particularly effective. Rather than presenting Alex’s experiences chronologically, Gilroy throws us into the same state of uncertainty and emotional limbo that defines his protagonist. Events unfold before their significance becomes clear, with connections gradually emerging as the film progresses. Crucially, the screenplay knows when to withhold information, revealing just enough to keep us engaged without giving away the full picture.
Personally, I found this approach one of the film’s greatest strengths. There is something compelling about being thrown into Alex’s chaos, moving alongside him as he attempts to escape his problems while simultaneously searching his past for answers. Although this fragmented structure may not appeal to everyone, it rewards patience and attention, allowing the pieces of the puzzle to fall into place with increasing emotional significance. By the time we reach the performance of the titular composition, Behemoth!, the film’s seemingly disparate threads begin to form a coherent whole.
Holding everything together is an excellent performance from Pedro Pascal. Despite the intensity of Alex’s musical performances, Pascal’s portrayal is rarely loud or theatrical. Instead, it is remarkably understated, relying on subtle expressions, restrained gestures, and moments of silence to communicate a man struggling with emotions he cannot quite articulate. There is a quiet vulnerability to Alex, even when his behaviour makes him difficult to sympathise with. Pascal captures this contradiction beautifully, presenting a character who longs for connection but repeatedly undermines his own chances of finding it.
Olivia Wilde and Eva Victor both deliver compelling and memorable performances as Alex’s former lovers. Their appearances offer important glimpses into the emotional consequences of Alex’s actions, revealing aspects of his personality that he seems unwilling, or perhaps unable, to acknowledge himself. While the film remains firmly rooted in Alex’s perspective, these relationships help illuminate the distance between how he sees himself and how others experience him.
Yet perhaps the most fascinating element of Behemoth! is its relationship with music. For film-score enthusiasts, it is something of a treasure trove. An extraordinary nine composers are credited on Gilroy’s film, even before accounting for the contributions of classical giants such as Bach, Haydn, Mozart, and Tchaikovsky. Rather than simply accompanying the action, the music becomes an essential part of the film’s storytelling, reflecting and commenting upon Alex’s emotional state.
Throughout the film, there are subtle references to Alex playing “like a beast”, a description that brings us back to the significance of the title. When Alex picks up his cello, the chaos of the world around him seems to fall away. Music offers him a rare opportunity to exercise control, to quieten the noise of his personal life, and immerse himself in something that feels meaningful.
In this sense, music becomes both Alex’s refuge and his means of expression. Where words fail him, the cello allows him to communicate something more profound. The film’s compositions are not merely beautiful pieces of music, but extensions of Alex’s internal conflict, articulating his longing for peace, balance, and perhaps even redemption.
Ultimately, Behemoth! is a film about the overwhelming nature of existence and our attempts to impose order upon it. Through its fragmented storytelling, richly layered soundtrack, and Pascal’s restrained central performance, Gilroy explores the tension between chaos and control, between the desire to escape and the need to confront what we have left behind.
And perhaps that is where the title finds its greatest resonance. The Behemoth is not simply the enormous, awe-inspiring force of music that dominates the film, nor is it solely the chaos that threatens to consume Alex. It is the uneasy relationship between the two and the struggle to find a balance in a world that so often refuses to provide it.
Behemoth! Debuted with its London Film Festival gala at the Royal Festival Hall on Tuesday 13th October. There is a final screening on Friday 16th October at the Vue West End.
