'Shiva Baby' Review
NR
Runtime: 1 Hr and 17 Minutes
Production Companies: Dimbo Pictures, It Doesn't Suck Productions, Bad Mensch Productions, Thick Media, Neon Heart Productions
Distributor: Utopia
Director: Emma Seligman
Writers: Emma Seligman
Cast: Rachel Sennott, Molly Gordon, Polly Draper, Dianna Agron, Fred Melamed, Danny Deferrari
Release Date: April 2, 2020
Theaters & Video-on-Demand
Based on the short film of the same name, Shiva Baby follows Danielle (Rachel Sennott), a 20-something-year-old woman who is currently stuck in a relatable crossroads post-grad ennui — disaffected, unmotivated, and content to live off of her married sugar daddy, while lying to family and friends about the source of her revenue. Her heavily compartmentalized worlds crash into each other at a shiva following a family friend’s funeral, as the arrival of unexpected guests, including former flame Maya (Molly Gordon, Booksmart) and her paramour’s wife (Dianna Agron, Glee), cause her frequently flippant fibs to catch up with her in absurdly raucous ways.
If you were a professor at a film school and wanted to introduce your students to suspense films, chances are you would show them the classics from the masters of the genre, such as Hitchcock, Cronenberg, or Lynch. Since cinema has evolved, the binaries of committing to one genre have been broken. Suspense films now come in many shapes and forms, boding to be two effective genres at once. If you want examples of brilliant modern-day suspense, then writer-director Emma Seligman’s debut feature Shiva Baby is for you. It’s a masterclass in both suspense and comedy and poses to be a timeless classic in the making. Sometimes the most terrifying suspense stories are the most emotionally grueling, situational-based ones that many people can relate to.
If you thought Uncut Gems was the most stressful Jewish movie you’ve ever seen, Seligman says, “Hold my wine.” From the beginning, Seligman puts you in the passenger seat for this rollercoaster ride Danielle is thrust into. As Danielle’s private life and Jewish family life collide — knowing she’s lying to members of both parties in order to live a stress-free life — you embark on a stomach-churning, hilarious, and awkward rollercoaster ride for 77 minutes. Seligman presents such a well-crafted and realistic set-up that would trigger anyone. It’s a funny “what if” scenario that effectively works as the most grueling experience anyone could ever imagine. With each unexpected twist that occurs in this emotionally vulnerable Jewish environment, and as shit keeps hitting the fan for Danielle, you question if there’s an option for her to either spontaneously combust or find a casket of her own, because nobody would ever make it out of that situation alive.
The awkwardness of the premise serves as the primary basis of both the humor and suspense. Impressively, it succeeds on both fronts thanks to Seligman’s solid screenplay and direction. It’s already awkward running into your sugar daddy at a Shiva and the film is able to up the ante with each beat, making it more cringeworthy and just genuinely EEEEEH.
Seligman makes sure that the camera movements and pans correspond with each beat of the story to make every reveal effective. The film’s use of deep focus is so clever and is used to its max potential, placing Danielle in the foreground doing various actions away from others, but still listening to their conversations to receive that third-party tea as her worlds collide in the background. Since the majority of the film is set in one crowded area, you feel the claustrophobia with all the bodies moving around on-screen.
Despite Shiva Baby being her first feature, Seligman does a fantastic job depicting Jewish culture through the Shiva setting, the different personalities of the characters, and their dialogue, especially regarding the adults. From the prying relatives and family friends who question Danielle’s love life, plans for the future, and job prospects, to her parents Joel (Fred Melamed) and Debbie (Polly Draper), who are an encapsulation of the overbearing Jewish parents, there’s sharp, witty dialogue that makes it all feel so real. Even if you’re not a Jewish viewer, this kind of family function is so timely and relatable.
The ensemble cast is astounding as everyone delivers great performances. Every year you have that one talented performer who just comes out of nowhere and stunts in multiple film roles. Last year it was Florence Pugh. This year it’s Rachel Sennott in Shiva Baby and Tahara, another profound LGBT Jewish comedy. Sennott absolutely shines through her impassive, dry delivery, body language, and comedic timing. Much like her character, Sennott does a great job exhibiting power and control. I’m so in awe of her talent. Rachel, if you’re reading this:
The character of Danielle herself is so fascinating because she’s at a point that many 21st-Century 20-somethings can recognize — that in-between stage of life where you’re trying to make money however you can while being unsure of your long-term goals. She’s flawed and sympathetic, but is never seen as a victim, nor does her sex work is portrayed to be entirely sinful, which is so refreshing.
Molly Gordon is such a delight in everything she’s in. She has great onscreen presence and charisma. It goes without saying that she’s great as Danielle’s ex, Maya. Danny Deferrari is really good as the elusive, cheating sugar daddy, Max. Also, WHO WOULD EVER CHEAT ON THE GODDESS THAT IS DIANNA AGRON!?
With all that happens in this film with such a short runtime, it’s amazingly well-paced. It never overstays its welcome. That being said, there is an area where the film completely suffocates you and then lets you up for air. It’s a welcome change of pace, but during that air time, the film starts to lag. I can’t necessarily pinpoint where it occurs or for how long, but there comes a point where you feel the rough patch in the pacing.
Other than that, Emma Seligman’s Shiva Baby is the most stressful Jewish movie since Uncut Gems. Hell, it’d be a great double feature alongside Uncut Gems… or Mother! It’s an incredible demonstration of suspense and comedy that serves as a fantastic showcase for Emma Seligman’s power as a filmmaker and Rachel Sennott’s talent as an actress. If I ever end up becoming an adjunct film professor — which I may do someday — I will have my students watch Zola and Shiva Baby to help them grasp the perspective of contemporary suspense.
