“The Listeners,” which premiered Friday on Starz, offers a moody, slow-paced exploration of a mysterious auditory phenomenon known as “the hum”—a low, persistent noise reported by some individuals but inaudible to others. Created by Jordan Tannahill, the series originated from a 2021 novel and a 2022 opera before being adapted into this television format. Starz has re-edited the original four episodes into five shorter installments, resulting in episodes that conclude at unconventional points.

The series centers on Claire, portrayed by Rebecca Hall, a high school literature teacher who begins to experience debilitating effects from the hum, including headaches, nosebleeds, and difficulty concentrating. Claire’s struggle with the condition isolates her from those around her, including her husband Paul (Prasanna Puwanarahajah) and her teenage daughter Ashley (Mia Tharia), although her relationship with Ashley remains generally positive. Early scenes establish a connection through music, featuring British folk rock classics that give way to the unsettling ambient noise that defines Claire’s new reality.

Claire finds a measure of relief when a student, Kyle (Ollie West), reveals he too hears the hum. Together, they investigate possible sources of the sound, ranging from wind turbines to a radio telescope, ultimately joining a support group led by Omar (Amr Waked) and Jo (Gayle Rankin). While the group presents therapeutic activities such as breathing exercises and visualizations, their leadership carries an air of secrecy and control, with hints of complicated histories and altered identities. Despite concerns, the group’s approach is portrayed as relatively benign, contrasting with more extreme belief systems.

As Claire becomes more involved with the group and grows closer to Kyle—though their relationship is explicitly non-romantic—her personal and professional life begins to unravel. The series portrays the ripple effects of her choices, with consequences including job loss and marital strain, while also highlighting the intense reactions of those around her. The narrative emphasizes themes of listening and the challenges of being heard, both literally and metaphorically.

Directed by Janicza Bravo and shot by cinematographer Jody Lee Lipes, the show employs deliberate pacing and a distinct visual style reminiscent of classic art films. Critics have drawn comparisons to works like Michelangelo Antonioni’s “Red Desert” and Ingmar Bergman’s “Persona,” noting shared motifs of psychological unraveling. Additionally, thematic echoes of Steven Spielberg’s “Close Encounters of the Third Kind” are evident in the portrayal of characters consumed by inexplicable signals that draw them away from family toward others experiencing the same phenomenon.

Though the series steers clear of explicit science fiction or extraterrestrial explanations, it subtly touches on broader social issues such as industrial noise pollution and conspiracy theories. Ultimately, “The Listeners” functions primarily as a mood piece and intimate character study, anchored by Hall’s nuanced performance that captures the isolation and complexity of living with an enigmatic condition.