Nasty Baby

Films are like visiting a city. Mainstream movies cover the big attraction: Eiffel Tower, Notre-Dame Cathedra, and Musée du Louvre. Indie films take you through the back streets and occasionally you get a tour of the underbelly of a city. "Nasty Baby" by filmmaker Sebastián Silva takes you on a back ally tour of the character of ordinary people. We all like to think we know what we will do in hypothetical situations. The truth is often we don't. This movie starts off pleasant enough with likable, real character; but from the start there is a slow burn that is building towards some unwanted destination. This movie takes you around the big attractions of a city and delivers you via the characters in places you would never expect to visit or would want to go. Check out "Nasty Baby" if you get a chance.

Pretty lousy for the most part, though it does arrive at a compelling (if not original) conclusion. Director Sebastian Silva stars along with Tunde Adebimpe as a gay couple in New York City who are thinking about having a baby with their best friend, Kristen Wiig. Not much really happens plotwise for the first hour or so, though a conflict arises between the trio and a mentally unhinged, homophobic man who lives in their neighborhood (Reg E. Cathey). He often follows Wiig around in a threatening manner, and likes to throw homophobic slurs at Silva and Adebimpe as they walk down the street. Alia Shawkat (who co-produced! How desperate do you have to be to hit Alia Shawkat up for money?) and Mark Margolis also co-star.

Nobody can say writer/director/actor Sebastián Silva lacks creativity and ingenuity as a young filmmaker. His film Crystal Fairy & The Magical Cactus, while being frustratingly quirky and an overall unpleasant experience for me years back, did show that Silva had a talent for concocting pretty bizarre scenarios with an ethereal vibe in their cinematography. Silva's latest directorial effort, Nasty Baby, comes very close in giving off the same kind of young, upstart filmmaking tendencies of Jay and Mark Duplass, but it's a film that gets bogged down by a serious sense of misguided direction in its third act that almost makes the film's pillars collapse under the weight of its incredulity.

Spoiling the film would be criminal, so expect me to dance around the events with great detail. The story revolves around a European immigrant named Freddy (played by Silva, who also wrote the film, as well) and Mo (Tunde Adebimpe), a gay couple who are trying to have a child of their own and enlist in the help of Polly (Kristen Wiig) to be their surrogate mother. This wouldn't be such a chore, but due to Freddy's low sperm count, his numerous attempts to impregnate Polly have resulted in nothing but frustration. Freddy is also a prolific actor and starving artist, and his latest project is a short film titled "Nasty Baby," which will show him portraying a screaming infant (just when I thought Mark Duplass's role in Creep that had him making a video for his unborn son to enjoy was the peak of strange).

The bane of the trio's existence comes in the form of a mentally ill neighbor they know as "The Bishop" (Reg E. Cathey). Despite their acts of kindness, "The Bishop" continuously bothers them with his erratic and unpredictable behavior, going as far as almost sexually assaulting Polly in broad daylight. "The Bishop," while initially seeming like a petty character in the lives of these three, consistently finds himself being a common problem as they try to go about their daily lives unbothered, especially given the stressful circumstances they're currently facing.

Nasty Baby is a film that works largely because it's free-form and unwilling to conform to a discernible plot for much of its runtime. It admirably rejects form, and that makes it easy to believe that this is a film about three realistic characters that are simply going about their days. The vibes the film gives are so natural and nuanced that even the quirkiness of Freddy making a video of him acting infantile is a believable inclusion, despite its most illogical entrance into whatever remnants of a plot this film bears.

Nasty Baby's issue comes when it decides to introduce a plot - a considerably dark and sad one, at that - late in its third act. It's as if, in that very moment in his screen writing, Silva forgot to really introduce a bigger, more identifiable conflict for his characters, and as a result, the final twenty minutes of the film feel very forced and rushed in attempting to introduce, remedy, and eventually solve the newly introduced problem for their characters. Had Silva stopped dawdling with the screenplay and introduced this conflict earlier, maybe at the fifty-minute mark, this film could've been the best of both worlds - a largely free-form exercise in indie, LGBT filmmaking, in addition to a compelling black comedy/drama.

Instead, this feels like a film that doesn't really find its very real problem or identity until it's too late to really leave a meaningful impact. The overall effect of introducing such a huge and potentially life-altering situation to the characters with only about twenty minutes left in the film not only is unfair to the film's characters, but the audience members, who will undoubtedly emerge feeling a sense of disconnectedness and discomfort thanks to a film showcasing such a monumental event before solving it and cleaning it up like it was nothing at all.

With all that in mind, Nasty Baby is just sporadically funny enough to be deemed a comedy, and wisely punctuated by enough sadder or more dramatic moments to also fittingly earn the title of a drama. Silva's quirky narrative, for the most part, doesn't get the best of him, and the trio of performances from the main cast is particularly strong, with the standout being Wiig in another performance that needs just the right amount of eccentricity and humanity to make it work (see Adventureland and The Skeleton Twins for her other strong performances at playing smart, if disconnected). This is a film that works marginally well for the most part of its runtime, teetering on the edge of silliness and sophistication until the point where it reaches its climactic arc, which should've been its second major conflict throughout. At that point, we see that Silva has been piloting a ship that he knows how to operate but doesn't really know how to steer and doesn't find out until the ship has sailed well past it's destination.

Starring: Sebastián Silva, Tunde Adbimpe, Kristen Wiig, and Reg E. Cathey. Directed by: Sebastián Silva.

Grotesque (Noun) - A distortion of reality, often comic or satiric in nature.

Sebastian Silva has a knack for making films that mask simmering malice, danger, and outright evil in a playfully subversive manner. "The Maid" featured a long-time servant out to make mischief for her callous employers. "Magic Magic" detailed the slow crack-up of an innocent and naive California blonde as she's dragged deep into the bowels of South American ethnicity (read: Reality).

Silva himself stars in this latest excursion into unwanted reality, one his character, Freddy, seems just as terrified to face: that of fatherhood. Freddy lives in an airy Brooklyn apartment with his partner Mo (Tunde Adebimpe). He's a visual and performance artist who's got a child's attention span (and general life attitude): flighty, not overtly responsible or aware of other's feelings, and prone to fits of rage that mask an underlying self-hatred and nonacceptance. Throw into this emotionally thick stew Freddy's fixation on getting his best friend Polly (Kristin Wiig) pregnant with Mo's sperm (as Freddy's isn't up to the task - ouch), an obsession with an oddly self-conscious performance art piece that articulates his own fear and loathing, and a crazy neighbor who's becoming more and more aggressive in his assaults. There's enough TNT here to detonate the most stalwart brownstone.

Most of Freddy's fears and neuroses are down-played in Nasty Baby, just as Juno Temple's were in "Magic Magic" and Silva is good at this. Mo, Polly, and even Wendy, Freddy's assistant (the sparkly Alia Shawkat, who also produces here) can see the cracks and the film does a good job at slowly turning up the seismic rumble under the surface.

Reg E. Cathy (miles away from his displaced Barbecue chef on House of Cards) is an effectively unstable menace who constantly pushes Freddy's self-hatred buttons with homophobic slurs and taunts. Does Freddy really want a child? Or is it something he feels he must do to complete some kind of bohemian ideal or even his latest performance piece? Nobody around him seems sure, even his elderly gay neighbor (the superb Mark Margolis) who's seen his share of battle wounds from just being himself.

Nasty Baby eventually erupts in an unexpected and nasty way that I won't spoil. It's satisfying though not in a real audience-pleasing manner, but you can see the terror and dread in Silva's face up until the end. It's anything but light entertainment, but like all of Silva's films it will make you think and will hold up over repeat viewings. The iTunes commentary, with Silva, Adebimpe, and Wiig is a hoot, by the way.

This film really had an impact on me. I'm not sure this was in the way the filmmakers intended though, as it was a very mixed experience.

I was immediately drawn in by the "indy" vibe, if that's what you call it. The naturalistic acting was appealing and seemed, for the most part, to ring true. The way the actors moved and conversed was convicing, so perhaps it was improvised to an extent? I thought the two main male actors did exceptionally well and I'd be curious to see them in other work. (Obviously I know Kristen Wiig already, and she is so good!) I liked the tone that was set and I felt more and more connected to the characters and story as it went along. But, as others have mentioned, when the film takes an abrupt turn, I just stopped believing it. Not the premise of this event or how it is dealt with initially, or how it is shown (I appreciate the graphic portrayal of it) but how the challenge is dealt with afterwards, and everything that follows, including the closing credits. The realism stopped there, and I felt ripped off and pissed off. It was like they took two completely different plots and mashed them together, and I really want to know how things would have turned out without the abrupt turn. I would like to understand the whys and hows of the filmmaker's decisions. Was there a message? Did the filmmaker intend to upset his audience? What was the point of this whole thing? And, that said, I still think it's a good piece of film-making, which perhaps explains why I can't just let this go and dismiss this as a piece of crap.