‘Shiva Baby’ Review
If you glanced at a scene from Shiva Baby out of context, you’d swear you were watching a horror film in the same vein as Rosemary’s Baby or Get Out. The claustrophobic close-ups, anxiety-inducing score, lead actress Rachel Sennott’s sweaty, haggard face, all of these elements inject this cringe comedy film with a nightmarish edge that captures that awkward phase right before college graduation. It’s almost as if director Emma Seligman saw the opening section of The Graduate and decided to expand on that existential dread of figuring out what you’re doing with your life while injecting her own experiences as a bisexual Jewish woman.
When college senior Danielle (Sennott) joins her parents (Polly Draper and Fred Melamed) at a shiva—a week-long mourning ritual after a funeral—she runs into both her ex-girlfriend, Maya (Molly Gordon), and her sugar daddy, Max (Danny Deferrari). As if all that wasn’t bad enough, Max has brought his beautiful wife, Kim (Dianna Agron), and their infant son to this gathering, neither of whom Danielle knew existed until now. So, naturally, things get awkward fast.
Shiva Baby creates the perfect chaotic environment for Danielle to exorcise all of her demons. There's no escaping judgment, humiliation, or violations of her personal space at this shiva. All Danielle can do is stumble from one room to the next, attempting to explain her career plans (or lack thereof) to family friends as they speak in hushed tones about her past relationship with Maya. Kim’s presence, especially, represents a hodgepodge of Danielle’s guilt and insecurities. A successful entrepreneur, Kim is everything Danielle wants to be, and her screaming baby reminds the directionless student of how she still depends on her parents for financial support. But the biggest blow to her self-esteem is when she learns that Kim is the breadwinner in the family, and therefore her prosperous career funds Danielle's arrangement with Max. Completely stripped of her independence, Danielle's only option is to continue pursuing Max sexually, no longer for his money, but to hang on to what little power she has left.
Though Shiva Baby is an intense, uncomfortable experience, there’s warmth at its core. Daniella and Maya's relationship, while strained at first, radiates genuine affection. Sennott and Gordon’s crackling chemistry creates a complex history between the two characters, and it's clear that Maya is Danielle's one source of relief. Above finding her career path or keeping her explosive secrets hidden, we want to see Danielle get back together with this person who provides space and breathing room in this claustrophobic environment.
Danielle’s parents consistently ride the line between judgmental and caring. They may not have the highest collective EQ, but their oblivious nature never crosses into cruelty. Their insistence on coaching Danielle on how she'll explain her post-grad plans seems excessive, but they're preparing her for the storm of probing questions coming her way. The people in their community put reputation above all else, and there's an expectation for young women to have everything figured out from an early age. But despite their fixation on status, Danielle's parents are happy to support her, even if they sometimes push it too far into infantilization.
Strangely enough, the comedy in this film is barely worth mentioning. That's not a dig; the witty, cringe-inducing dialogue is on par with the best episodes of The Office. But you can picture the awkward conversations from the plot description alone, and it’s better to experience them for yourself. Shiva Baby's true standout feature is the confident filmmaking from first-time director Emma Seligman.
She uses every trick in the book to reflect Danielle’s vulnerable mental state. Invasive close-ups, breaking the 180-degree rule, distorted shots, all of these techniques create an uncomfortable atmosphere. Early in the film, Seligman gives the audience a good layout of the house, and once the wheels come off and the cinematography becomes crowded with bodies, we know there are few places to hide. Even the outdoor areas, choked with prying guests, provide little relief.
But Seligman’s best asset, and perfect avatar, is Sennott, whose expressive face conveys all the anxieties weighing on Danielle. Several scenes focus solely on the young actress reacting to the overlapping dialogue buzzing around her like a swarm of hornets, and you can't take your eyes off her. As the emotional baggage piles on, Sennott’s face sags from exhaustion, almost as if it’s about to fall off. If you’ve ever had a nervous breakdown, this performance will hit close to home.
Even though it’s likely to raise your blood pressure, Shiva Baby ultimately feels hopeful. Coming to terms with your lack of control can be a grueling process, but when Danielle reaches the other side, we breathe a sigh of relief. Sometimes you have to accept that you’re powerless, and Seligman ties this theme into the film's relationship with food.
One of the best compliments you can give Shiva Baby is that it saps your appetite. The film presents you with a feast, and Danielle's anxiety is so palpable even thinking about taking one bite will turn you off. Many of the guests comment on Danielle's weight loss, and you get the impression that her weak appetite goes hand in hand with her struggle to find direction. So when Danielle finally munches on a bagel and lox, it's a triumphant moment. She's wearing her messy life on her sleeve, and after all the squirming and sweating, that bite of food must taste like the most delicious thing in the world.
★★★★½