ESCANABA — I’m an avid theatergoer and film fanatic. I usually have my fingers on the pulse of new releases and highly anticipate films that excel at global festivals. However, when my boyfriend asked me to accompany him to the 9:20 p.m. showing of “The Holdovers,” directed by Alexander Payne, I was utterly oblivious to the story, characters, and themes to be portrayed on screen. I had missed out on all trailers and press before its debut at Willow Creek Cinema on November 22, so I had no idea what to expect.

“The Holdovers” follows our main protagonist, Angus Tully (Dominic Sessa), a rebellious high school student eager for Christmas break. When a sudden change of family plans leaves him stranded in the classroom, he becomes one of a handful of “holdover” students. The boys are monitored by their strict professor, Paul Hunham (Paul Giamatti), who assigns them additional homework and physical exercise despite the break.

As the film progresses, Tully is left behind by his peers to fend for himself against the brooding professor and the school’s grieving lunch lady, Mary Lamb (Da’Vine Joy Randolph). However, as the countdown to Christmas comes and goes, we watch our three unlikely friends develop a bond through shared heartbreak, family trauma, and exceptional loss. A coexistence of gut-busting laughter and heart-wrenching tears helped carry this film’s central message – hurt people help hurt people.

Giamatti expertly portrayed the stereotypical, disciplinarian professor that students simultaneously fear and loathe. His performance was neither one-sided nor static, the actor flexing his talents as he shifted from schoolyard tyrant to a depressed, lonely older man who felt the world was out to get him. As a viewer, it was painful to see him take off the mask of his public persona. This could not have been achieved without the heart and emotion that emanated from Giamatti.

Randolph gave an excellent performance as well. The heartbreak due to her loss seemed to melt through the screen, flowing through her shared alcohol addiction with Hunham. Ironically, the two connected over shared bottles of whisky, disclosing the trials and tribulations of their lives as Tully soberly watched from afar.

Speaking of Tully, Sessa’s debut in this film could not have been more perfect. He easily emulated the high school boy’s struggle of wrestling between a “tough guy” exterior and an ultra-caring interior. At the climax of his performance, he delivers an incredibly moving monologue that breaks down the wall between him and his professor.

The two realize they are pretty alike, after all.

Aside from the acting, the tone and editing of the film captured the 70s aesthetic, purposely adding a film grain and incorporating vintage titles and cast cards to enhance the vibe. Additionally, the score was very fitting. The film utilized folk songs such as “Silver Joy” by Damien Jurado and era-based hits like ‘Knock Three Times” by Tony Orlando and Dawn to parallel the quiet nature of life several decades ago.

The film cemented itself as a holiday classic for several reasons. Alongside the snow-laden scenery and Christmas lights, the movie revolved around the season’s sentimental, reflective, and giving nature. “The Holdovers” reminds audiences of how you cannot physically see the social and emotional battles others have faced. It represents the essence of human suffering and the universal need to have loved ones in life.

While not at first by choice, our three protagonists always had each other to lean on when life became overwhelming. When feelings overpowered one, the other was there to walk them home.

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Andie Balenger is a native of Gladstone and is currently attending Northern Michigan University. Her column addresses topics from the perspective of a young adult and runs Thursdays in the Daily Press.