Shiva Baby

Shiva Baby, released in 2020, is an independent comedy-drama that effectively maneuvers through the chaos and comedy of an awkward family event at a Shiva, a Jewish period of mourning. Led by a dynamic performance from Rachel Sennott, the film focuses on a fascinating tension between modern freedoms and traditional expectations, filtered through a dreaded family gathering and an unexpected encounter.

Written and directed by Emma Seligman, Shiva Baby takes on an intensely relatable yet edgy story about navigating through family, religion, and personal existence in the 21st Century. In the span of a 77-minute runtime, Seligman engulfs the audience in a discomforting and, at times, hilarious family occasion that is both grainy and starkly vibrant to the viewer, translating the tension present throughout onto the screen.

The narrative circles around Danielle, portrayed by Rachel Sennott, a directionless young woman in her final year of college, who struggles to balance her familial obligations, romantic relationships, and personal escapades. She is a sugar baby, engaging in a relationship with a wealthier, older man named Max, played by Danny Deferrari, for financial support. She maintains her lifestyle a secret, juggling between societal and parental expectations, liberalism, and her uncertain future, all under a facade of an ambitious, young entrepreneur. The plot unfolds as Danielle accompanies her neurotic parents, Deborah (Polly Draper) and Joel (Fred Melamed), to a Shiva—a Jewish mourning gathering after a funeral.

While the prominence of Jewish culture and tradition is evident throughout Shiva Baby, it is the unexpected attendance of Max, Danielle's benefactor, at the same Shiva that brings forth the unique essence of the film. Matters sweeten when Max introduces his successful, accomplished wife, Kim (Dianna Agron), and their bawling baby, catalyzing an essential turning point in the story. Caught in a relentless vortex of uncomfortable chats, snide remarks, and a cacophony of cries—both literal and metaphorical—Danielle's external braveness begins to crumble under the weight of her silent dread and insecurity.

Sennott’s performance as Danielle is commendable—her expressions eloquently convey the angst, frustration, and vulnerability of a young adult exploring the maze of her life and ambitions against expectations. Her interactions with her parents, past lover, sugar daddy, and peers coalesce into sardonic humor, making it an absurdly funny spectacle. Still, it remains entrenched in reality, inciting empathy for her predicaments. Deferrari, as the somewhat naive yet endearing Max, and Draper and Melamed, as the overbearing yet lovable parents, have also presented powerful performances, each contributing to the narrative's heightened tension and derisive allure.

Visually, Shiva Baby is a slice of life presented in an everyday suburban setting—living rooms, crowded kitchens, mazes of basement corridors and outdoor patios. The claustrophobia of suburban homes and the delicate dynamics of Jewish mourning rituals are accurately portrayed. Ariel Marx's score brilliantly complements each scene, ratcheting up the intensity and dread with sharp violin strings and an increasing pace inculcated within traditional Jewish music.

In essence, Shiva Baby is a compelling exploration of culture, identity, and the blooming adulthood in Danielle's life. Seligman manages to engage the audience by overlaying the narrative with humorous instances and portray an authentic representation of living between worlds and expectations. The film serves as an intricate mashup of nuanced themes encapsulated within prevalent cultural traditions and modern societal norms, making it an intimate, impactful, and memorable viewing for the audience.