The Holdovers is a bittersweet symphony of life

When curmudgeonly New England classics teacher Paul Hunham makes the ‘mistake’ of honestly marking the work of a bad student at Barton Academy, with the consequence that the boy’s wealthy father backtracks on a donation to the school, he is punished by the headteacher (one of the first pupils he himself taught) by being forced to babysit the ‘holdovers’ – any boys who have to stay at the school over the Christmas holiday in 1970.

The five that do remain include troubled Angus Tully, whose mother and new stepfather have decided they don’t want him around for a delayed festive honeymoon.

Making up the film’s central trio is Mary Lamb, the head of the school’s cafeteria. A single black mother, she took the job so that her son could have an education as a ‘Barton Boy’. But a lack of funds meant he couldn’t go on to college and instead, was conscripted into the military and died in Vietnam earlier that year.

Initially antagonistic, the inevitable happens as relationships between the three slowly thaw. What avoids this all descending into chiché is David Hemingson’s excellent script and Alexander Payne’s excellent direction – both of which allow the audience to slowly come to understand and empathise with the protagonists – and the performances of the leading actors.

It also allows a commentary on racism, class, mental health, and the importance of education; in particular, that of history – both global and personal.

Making his film debut as Angus, Dominic Sessa has already picked up several best newcomer awards and is up for a Bafta later this year as supporting actor. It’s a remarkably assured performance, full of awkwardness and vulnerability, but shot through with a self-destructive anger.

Da’Vine Joy Randolph as Mary brings toughness and vulnerability to the role, and she and the film thankfully avoid tropes of a suffering black character. Having already picked up a Golden Globe, she’s nominated in the supporting actress category for both the Baftas and the Oscars.

And so to Paul Giamatti as the central grouch. He absolutely shines in the role of the misanthropic teacher. There are moments of great humour here – not least in terms of his pomposity – but as with the others, it’s a performance that slowly reveals the character’s vulnerabilities.

Giamatti too picked up a Golden Globe and has best actor nominations for both London and LA.

The Holdovers is proving an awards dark horse, threatening the juggernaut that is Oppenheimer. Having seen it, there’s no surprise to this. Indeed, the only shock is that it took until the second half of January for this to be released in the UK, given that it is a quintessential Christmas movie, which is already being lauded as one of the very best of that species.

A real bittersweet joy. Film making on an absolutely human scale, with story and dialogue taking the lead. Do see.