First Photos from Behemoth Reveal Pedro Pascal's New Role

A single frame can change everything. The first images from Behemoth have arrived, and they don’t just tease a movie — they hint at a tonal pivot for Tony Gilroy and a rare, intimate turn for Pedro Pascal.

Pascal has been everywhere lately. Supporting parts, headline roles, surprise turns that kept him in conversations across festivals and multiplexes. Titles like The Materialists, Eddington and The Fantastic Four: First Steps landed last year, and he's been part of the ongoing Mandalorian and Grogu saga. He’s even lined up for the next Marvel ensemble, Avengers: Doomsday. Yet, say the new Vanity Fair stills, he hasn’t quite had that one lead role that stretches every muscle of his craft — until now.

Gilroy hasn’t directed a theatrical feature since 2012’s The Bourne Legacy. That gap matters. In those years Gilroy has become associated with slick, high-concept pieces, but he’s always been a writer-director who cares about the inner life of a character. Behemoth looks like a bridge: a director known for narrative precision turning his attention toward music and character in equal measure.

The film follows Alex, played by Pascal, a cello genius who spent decades performing symphonic works across the country and has now returned to Hollywood to compose film scores. It’s a premise that makes music the film’s spine. Score isn’t background here. It’s a character. That shift is a surprise, in the best way, for a filmmaker who’s often been associated with kinetic plotting rather than quiet, sonic interiority.

Pascal didn’t sign on for flash. He signed on for depth. Cast reports list Will Arnett as Alex’s brother, Eva Victor as Nadia — the love interest — Olivia Wilde as a former fiancée, and Hank Azaria as Alex’s father. Other names attached in less defined roles include Matthew Lillard, Alexa Swinton, Margarita Levieva, Bree Livingston, Eric Griffin and Adam Rose.

Plot details are still being doled out, but the images suggest a film that listens as much as it looks: candlelit rehearsal rooms, worn instrument cases, a city that hums beneath the score. It’s an artistic gamble. It’s also the sort of project that could finally let Pascal claim a role built to contain his range.

Keep an ear open. This one may arrive not with a bang, but with a resonant, unforgettable note.