The New School Free Press’ Alexiah Syrai Olsen attends the press screenings for The New York Film Festival.

Original screenplays are slowly drowning under the literary adaptation genre of film. Turning novels into films can be a tricky assignment, especially if the author is dead or has no part in the project. But Garth Davis’ latest film “Foe,” based on the novel by Iain Reid, brings the author on as a screenwriter. The author and director work in tandem to depict the novel’s vision — a task that can become rather daunting. 

“Foe” centers around a peaceful couple whose lives go sideways when an uninvited guest arrives, proposing a questionable offer. The husband, Junior, is played by Paul Mescal opposite his wife, Henrietta, played by Saoirse Ronan, both who are very prominent Irish actors. 

By working closely with the author, director Garth Davis maintains Reid’s signature for immersing readers into the minds of characters. This is not the first work of Reid’s to be adapted to the screen, as “I’m Thinking of Ending Things” was also adapted into a film in 2020. By writing for the adaptations of his novels, Reid preserves the integrity of the books. 

Together with Davis, they brilliantly set up their characters to courageously confess their states of mind, especially Mescal’s role of the husband. This film broke Mescal out of his shell, who was becoming a one trick pony with his previous “loverboy” roles. This sophisticated screenplay gave Mescal the opportunity to explore his full range: expressing emotions other than numbness, playing a psychotic character, and flaunting his newly found acting abilities. Mescal has set a new standard for himself.

You can’t help but think that “Foe’s” big mystery was given away, diverging from how Reid approached his first film, where viewers are left to put the pieces of the film together themselves. “I’m Thinking of Ending Things” was a brilliant piece of work, considering that it was Reid’s first feature film, a feat many screenwriters fail their first go around. But I can’t comprehend why Reid would choose to give away the ending of this film, since his cliffhanger worked so well on his last one. Perhaps it would’ve been tricky to avoid spoiling the big surprise, but I trust that he would’ve created yet another masterpiece if he left us guessing the ending. Nonetheless, the script remains magnificent.

A mystery ending has yet to become Reid’s screenplay signature, but I wish it was. New to screenwriting, he has so much potential to break boundaries — transforming his books into films that leave you aching for the characters. 

Despite all the beautiful things about “Foe’s” screenplay, not ending the film on a question decreased the complexity of the work, but Mescal ultimately picks it back up. Reid is known for his eerie works, and Mescal’s outstanding performance made the film horrifying. The Irish actor brought a whole new meaning to the emotionally unstable man trope; his displays of such raw emotions actually brought tears to my eyes. His execution of the character was something I’ve never seen from him, let alone from anyone in awhile. Watching Mescal tear his character apart, torturing himself and leaving him insane was a type of acting that doesn’t come around anymore. Mescal made us want to get him mental health help, and also frantically run away screaming for our mothers. It was chilling, giving us all the more reasons to love Mescal’s portrayal and Reid’s character construction.

Ronan on the other hand, didn’t surprise me. Of course, she’s been an extremely talented actress from the jump of her young career and even her performance in “Foe” was right on target. But it makes me think that Ronan may be such a gifted actor that we aren’t stunned by her work anymore; we just always expect her performance to be exquisite. In addition, the film doesn’t seem too concerned with Ronan’s character of the wife. Despite a short cast list, the plot appears more geared toward the husband. 

In any film, there’s always going to be an actor who outperforms the counter, and unfortunately Ronan did not exceed Mescal. His performance is a tough one to beat but that doesn’t diminish Ronan’s overall prowess. If anything, she might be the overall better actor because of her consistent, incredible performances , especially considering “Little Women” and “Lady Bird.” In contrast, Mescal is just starting his film career. 

The holy trinity of Reid, Davis, and Mescal brings a new film experience to the big screen. You leave the theater a changed person. With Reid and Davis creating a story that jumps between the affection of a marriage and personal struggles, Mescal leaves a mark on his audience, an indispensable element to acting. As an actor, you want to change us, make us react, make us care. Mescal made us more than care; he made us want to cradle him like a baby and kiss him on the forehead.