The Humans, the Claustrophobic New Family Drama From A24

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, which scores the closing credits. “The way [the song] ends without a lot of handholding and a story about love, that is the real undercurrent of this film,” says the writer and first-time director. “For all the anxiety and dread, it’s about the love of this family, and a 40-year marriage with the kind of intimacy and knowledge that can quickly turn scary.

Karam’s early impetus for the story arrived while working as a paralegal, tied loosely with the aftermath of 9/11. “At my day job, in the 2007 financial crisis, I remember thinking I was still unpacking my relationship to downtown New York and post-9/11, my own family’s fears about safety. With the financial crisis, the hurricane and the blackout that hit New York, you start to see the resilience and remarkable strangeness. That’s the strange river I was swimming in when I was writing the play.

“Amy was the one I was most nervous about,” says Karam, reflecting on how the modest project compared to Schumer’s usual, more explicitly comedic roles. “I thought she could do anything but you just never know. In some ways, with the kind of actors drawn to a project like this, it’s nicely self-selecting. And it’s such an ensemble piece, part of me knew when Amy wanted to do it. She was an extraordinary team player; it was clear she really wanted to lose herself in the part.

In Richard and Erik, Karam feeds into the anxiety that underscores the film, exploring his obsession with dreams through the relationship the two characters have with their own nightmares. “I’m totally Steven’s character,” he says. “I’m fascinated [by dreams]. They can be liberating, scary, perplexing. I find them interesting partly because of the way people either care or don’t care.

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