An Iranian father (Amir Zavosh) struggles to pay his rent, to see eye to eye with his son (Maziyar Khatam), or really to make anything of his life these days. When he turns to drastic measures in order to appeal to his landlord and to find his way, his son must do all that he can to save his father–literally and figuratively. This man is a Baba first, and that should be his priority–but things just don’t go as planned.
Baba is, first and foremost, a character study. Father and son juxtapose one another throughout the duration of the film–and they work to complement one another from beginning to end. On one hand, the father is sort of an asshole. He’s selfish, unwilling to change or cater to others, and he’s full of malice. On the other is his son–and he’s determined, passionate, and willing to do just about whatever it takes (within reason) to make things in his and his father’s life work. Baba takes these two characters, throws them into a confined space, and forces them to work together. It’s like oil and water–they simply don’t mix, and viewers are forced to imagine the people in their lives that fit into these categories. Baba’s main character, who’s really the antagonist, is simply unlikable–and he never truly redeems himself before the film concludes. I love this about the film–it’s unwilling to alter these characters in order to appeal to the masses, but rather it creates honest, realistic characters that mirror what we see in the real world. The ability of Writer Khatam and Writers Anya Chirkova and Meran Ismailsoy is simply impeccable in this regard. They never miss in terms of character development, and it carries the film through to the end.
Speaking of that group and their ability to create honest, relatable content–I’m not sure that at any point throughout the course of Baba that this trio misses. There’s a level of intimacy that, had it not existed, could have caused the film to fail. Once again, this team is brilliant, and they truly understand how to reach their viewers. Nearly the entire film takes place in a rather small apartment–and viewers are crammed into a small space with the film’s characters, pulling them into the story, and, once again, creating a series of sentiments and ideas that resonate with them.
I’m obsessed with how well this team has developed Baba. From character development to cinematography (which does, in large part, come to exist as a result of what Director of Photography Julian Lomaga brings to the table), this film never misses a beat, and it never fails to reach viewers. The dialogue, and the comedy that comes from it, are a massive reason why Baba is so brilliant and so easily accessible. There’s no hiding the fact that Baba is intense, that it’s fueled by drama–but I think a little levity is essential if the filmmakers don’t want viewers to get fully sucked into this world of depression. The comedy is subtle, and I mean very subtle–but it’s constructed and delivered beautifully–in a way that doesn’t steal from the drama, but rather supplements it and gives viewers a chance to breathe every once in a while throughout the course of Baba.
I’ve been blessed to see so many wonderful films lately, and I always feel that what I’m about to say (because I’ve been saying it so often) dilutes how I feel about the other films. However, the reality is that Baba is one of the best things that I’ve seen in some time. It blends comedy and drama in a way that allows the film to remain accessible, fun, and honest. It develops characters at a rate that truly mirrors the real world and allows viewers the chance to see something almost tangible, something that they can relate to. And, finally, Baba as a whole is incredibly intimate, causing viewers to feel present in the apartment in which the film takes place. Baba is simply brilliant, and that’s all there is to it.
Directed by Anya Chirkova & Meran Ismailsoy.
Written by Maziyar Khatam.
Starring Amir Zavosh, Maziyar Khatam, James Choy, & Sina Djamshidiat.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10
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