THE BECOMERS
THE BECOMERS follows two intergalactic lovers escaping their dying planet. Each lost on Earth, calling the other, and body snatching to blend into the human race. Filmmaker Zach Clark cleverly utilizes aliens as observers to tackle the complexity of human behavior. THE BECOMERS effortlessly joins the catalog of his previous quirky, indie gems. Each new beat gets weirder, and it is impossible to predict.
THE BECOMERS is bold, eschewing any societal norms. Have you ever seen an alien sex scene? Because you’re about to, and it is gooey. Russell Marl voices their backstory with a particular tone that perfectly encapsulates the film’s feel. Fritz Myers’ score is jarring and yet works perfectly. Myers also creates unique Alien vocalizations. The editing is delightful.
The performances from every cast member are spectacular. Karla Monay Shaw brings it home at the governor’s housekeeper, Femmy. Although her appearance is brief, she shows her acting chop. Keith Kelly delivers two distinct versions of Governor Olatka. Clark allows him to showcase quite the emotional rollercoaster.
Isabel Alamin gives Francesca a tentative fear. She’s incredibly compelling. Molly Plunk and Mike Lopez‘s turns as couple Carol and Gordon. Their trust in Clark’s vision is evident. Plunk and Gordon embody the seemingly wacky premise and capture the sincerest longings within the slapstick comedy.
The longer I sat with THE BECOMERS, the more I realized that humanity’s behavior was far more disturbing than any alien display. It was a startling come to Jesus moment. Clark leans into what appears absurd until you conclude that it is merely a fanciful mirror of our hopes, dreams, irrationality, and means of survival. Don’t get me wrong. The camp and over-the-top scenarios solidly place the film in a sci-fi comedy genre, but underneath all the shenanigans is authentic heart.
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