Sundance Film Festival 2022 Premiere – Babysitter is a tough sort of film to pin down. It has really effective elements of slapstick comedy, surrealism, and a stunning set design that makes it look like a fairytale. This isn’t the type of movie with a straightforward narrative in which everything is totally wrapped up by the credits. Yet, there’s something alluring about this one that immediately draws you in.

The film stars Monia Chokri as Nadine, a long-suffering girlfriend stuck at home with a crying baby. She’s tired and worn out and for good reason. Chokri directed the film, and it’s based on a play by Catherine Léger. She handles directing and acting duties quite well here.  Nadine’s boyfriend, Cédric (Patrick Hivon), is canceled after he drunkenly kisses a reporter on live TV and it goes viral. Cédric enlists the help of his sensitive brother, Jean-Michel (Steve Laplante), to co-author a confessional book apologizing for his behavior. The interactions between Hivon and Laplante’s characters are laugh-out-loud funny.

The film becomes stranger when the babysitter, Amy, shows up, played by Nadia Tereszkiewicz. Wearing a French maid outfit for a chunk of the movie, Amy helps Nadine find her sexual power and become more open about her desires. In fact, what’s really interesting about the film is the sudden shift in power dynamics. When Cédric is canceled, he suddenly loses his power and must come to terms with it. Just as he falls, Nadine rises, and it’s a fascinating journey to witness. Amy liberates her to an extent, and the unusual interactions between these two become more and more gripping to watch. There’s also something captivating about Tereszkiewicz’s performance here. She stuns in most scenes she’s in. She has a type of star power, and I hope we see her in more films soon.

So much of the camerawork sexualizes many of the scenes. In the opening, when Cédric attends a UFC match with friends before he drunkenly kisses the reporter, there are tight shots of breasts and toned stomachs. We see much through his predatory gaze. This continues for a lot of the film, including when Nadine explores her desires. I haven’t seen a film dripping with this type of sexual power in a while. It’s a clever use of the camera to reinforce some of the themes.

Babysitter’s real appeal is its visuals. This film dazzles. The set design and art direction are absolutely gorgeous. A lot of the pink hues and other tones give this film a fairy-like tale quality. It’s become increasingly unclear what’s real and what isn’t, but that’s fine. This is a film that sucks you in with its images and visuals, as strange and surreal as they are. The closing shot feels so dream-like and beautiful.

An enjoyable watch, Babysitter is a good blend of slapstick comedy and surrealism with a few horror elements added to the mix. Even if everything doesn’t make total and complete sense, the visuals, jokes, and performances make for a decent watch. This is a smart jab at toxic masculinity and misogyny, and the women really steal the show. In her second feature, Chokri shows that she has an arresting and unique style.

7 Out of 10