Whatever you might be expecting from it, Behemoth! is not what it seems. Unconventional in its structure, tone and pacing, it’s a film that refuses to get boxed into any genre or register, much like writer-director Tony Gilroy.

Introducing the film’s international premiere at the London Film Festival, Gilroy said he always wanted to be a musician, and that his collaborations with composers on his film “became the depository for those thwarted ambitions”. Bringing together no less than nine film composers to form the Behemoth! collective, it seems this project was the culmination of those ambitions; this is not just a story about film scoring, it’s a film driven almost entirely by its music.

The film stars Pedro Pascal as Alex, a professional cellist who we meet at several points of his personal and professional life. The story is told non-chronologically, incredibly patient with even the barest details of Alex’s past as we discover what exactly he’s running from, and what his ultimate goals are. It would be unfair to say that not a lot happens in Behemoth!, but it doesn’t boast a particularly intricate plot. The depth here is not in its story but in its structure, put together in such a careful manner that even the most routine of character reveals feels like a puzzle piece clicking into place.

The score is almost entirely diegetic, the personal dramas of its characters intercut with Alex’s performances and scoring sessions to replace a traditional ‘background’ soundtrack. Whilst nine composers might sound like too many cooks, the film is agile enough to make each composition sing. Vintage slapstick slide whistles accompany characters falling over, and an otherwise low-stakes chase scene might be intercut with a scoring session for a grand orchestral spy epic- the result is often wonderfully melodramatic, and occasionally hilarious. It’s impossibly varied and never repetitive, with each composer bringing their own stamp to the film (including Michael Giacchino, past collaborator of Gilroy’s for his largely uncredited work on Rogue One’s reshoots).

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In a film with almost as much musical performance as there is dialogue, Pascal’s cello playing is more than believable enough to breathe life into Alex as a character. Pascal began cello lessons as soon as he got the part, taking the instrument everywhere with him- “it was like putting myself in a relationship”, he confessed at the London gala premiere. Pascal also apologised for appearing in “almost every frame” of the film; it’s probably his most substantial starring role to date, and his playful performance is a strong anchor who is, much like the film, often hard to read.

He’s supported by a revolving door of extremely well-calculated performances, most of whom only appear for a handful of scenes across the different eras of Alex’s life. Olivia Wilde continues an impressive comedic run with a larger-than-life character whose shadow looms over the entire film, and the film crackles with energy for the brief moments Eva Victor is on-screen. Will Arnett is characteristically charming as Alex’s deadbeat brother, and there are plenty of fun appearances throughout which bounce wonderfully off Pascal’s charisma.

It’s a story about movies and the joy of making movies, but also inherited traits and addictions, and whether someone can truly change after a life of running from their problems. Gilroy addresses thornier issues in typically flippant fashion, the film never languishing in its characters’ traumas or losing its refreshingly light-hearted tone (though I suspect its deeper ideas may emerge more clearly in repeat viewings).

Those expecting the thrills of Andor or the fast-talking legal jargon of Michael Clayton might come away disappointed, but Gilroy continues to prove himself as a fascinating filmmaker unafraid of taking risks. It’s unlikely to be for everyone, but Behemoth! is a singular experience with plenty of style and a fascinating structure, one which will reward audiences willing to match its tempo.

★★★★

In cinemas from Friday 4th December / Pedro Pascal, Olivia Wilde, Eva Victor, Will Arnett / Dir: Tony Gilroy / Searchlight Pictures / TBC