A Babá

You've been separate from your son nearly a year, by an ocean that is wide and so austere, but you've managed to compose, started looking after Rose, with a family, who seem to be sincere. It's not too long before you struggle to get through, the guardian back home is engaged and eschews, it starts to play tricks with your mind, you find it hard to rest, unwind, while the parents take advantage over you.

Definitely not a horror film, but an innovative and imaginative insight into the psychology of a mother who loses contact with her young son, who she has left to build a new life in America for, while preparing for him to join her when the time is right. Anna Diop is outstanding, the interpretation challenging at times, the ending a little bizarre, but certainly something to get you thinking about, from a writer and director who clearly has some creativity.

This movie looked great in the opening scenes. Creepy house , weird silent monotone Child, clearly dysfunctional couple, sweet innocent immigrant nanny - all a recipe for disaster. But literally nothing happens . At all . There's a lot of dark , supposedly suspenseful sequences that are probably the "horror" element of the movie , but I don't really understand why this movie won any awards at all . It's perhaps too deep for someone without a degree in film appreciation, to actually enjoy, but the distinct feeling this movie leaves you with is akin to watching something you really want to eat, cook in the oven, only to be severely disappointed when you actually take a bite .

I do understand why so many folks gave this film low scores. If you are a horror fan such as I and have seen the trailer bait which looked like a horror movie, you might feel cheated to find out that this is not even remotely a horror movie. Perhaps, it is deserving that the film receives low scores.

On the other hand, if you are also a fan of the 'drama' genre and watch the film from that perspective, you will enjoy it.

I do not know who decides to interpolate the genres a film carries within the description, are they IMDb people or Amazon people or whatever but the film, the script and the acting do not pretend to be a horror movie for sure. Therefore I do not blame the film itself for the false tag of horror.

The movie is the melodramatic life of the new immigrant to NYC, a Senegalese woman who works for a rich family as a nanny and takes care of their young daughter whilst trying to save enough money to have her 7 years old son to move in with her to the states. She is struggling with missing her son and working long hours for a family who demands a lot yet does not pay for all of her hours. And the longer it takes them to pay for her work, the longer it takes her to bring her son to NYC, and she starts breaking down in the distress.

It's a very well-acted film. I look forward to watching more of Anna Diop, who plays the nanny Aisha, in the future.

As the many offended reviews on here attest, you should make sure to keep away if you are after Hollywoodian action heroes, generic slasher thrills or spectacular supernatural horror; I kinda sympathise with teenagers approaching a movie dubbed by marketeers as 'horror,' with clear expectation, that can only be disappointed. If you're looking for stylish zombie killing with a Senegalese twist, try Herbulot's Saloum instead. If, on the other hand, your attention-span has not yet shrunk to standard size, and you can cope with a slow build and appreciate an acutely observed portrait, for what it says, rather than what it does, this might be worth your time!

The writing is good: subdued and self-aware, playing with our expectations of 'minority horror', avoiding obvious tropes and hinting at some disquieting of class, race and gender (though I feel the odium might have been spread more evenly between Amy and Adam). The acting is very good (Anna Diop is subtle and shows a great range, Rose Decker is convincing throughout. Again only Amy felt a little too monolithic); The cinematography is sharp and expressive, with the 'water' theme an occasion for a few interesting visual experiments (i.e. The bathtub scenes) and a few that fall short (i.e. The damp bed scenes). The production is a little over-polished for my taste (did Malik the concierge need to drive a convertible?) and on occasion a bit easy (are date scenes awash in multi-coloured neon lights mandatory those days?) But on the whole this is balanced, subtle and elegant: the contrast between Aisha's flat and that of Amy is spot on; the 'modernised' Dutch-wax dresses immediately build characters; etc. The sound effects are good, but the music is a mixed-bag: I'd have gone with less trap and more kora (which has great creepy potential).

Where the film really shines is in its subtle and iconoclastic portrayal Black characters (i.e. The girl at the Western Union counter, the weird fellow nannies on the playground or Aisha herself is refreshingly nuanced, neither loud nor supine but self-assured, articulate and unflinching. She's not the most likeable character on earth (the core relation to her son is on screen only through photographs) but she brings a healthy dose of social realism in a genre always at risk of constructing its own clichés. Aside from those vignettes, the fantastic element which connects them is a little extraneous and disappointing. It feels a little 'tacked on' and this nudges the whole thing toward magical realism rather than horror or fantastic. I also think 'Trickster' figures simply don't fit the feature film format all that well: they lack the time to display the various aspects of their ambiguous character, and end up merely confused and confusing. That is what happens here. The vague New Age womanist references also don't help clarifying the lore out.

In short, there's room for improvement, a stricter production and a tighter scenario would have pleased many more. But all the same, this is an impressive first feature-length entry from Nikyatu Jusu, whom I'll make sure to follow in the future.

Nikyatu Jusu's debut boasts a distinct visual style that works in its favor. While the writing in the final act and the predictable twist leave much to be desired, Nanny never falls short of engaging. It is led by a committed Anna Diop performance, and significantly aided by the sharp commentary on migrant issues, trauma, and African folklore. While Aisha (Diop) is well-written and performed, the other characters are found wanting. I thought Michelle Monaghan's character had a lot more to contribute to the story than just being a burnt-out, rich mommy. Turns out, the plot was simpler than you believed it to be. The truth about Aisha's son is something anyone can anticipate mid-way into the film, and it doesn't startle at all. Neither does the "Mami Wata" aspect acquire a more wholesome shape.

But, in essence, the film also gets some little details right. There's the banter between Aisha and Malik that's always interesting to listen to. We also get quick "life updates" whenever Aisha visits her regular money transfer service. I also liked how the intensity (and duration) of Aisha's nightmarish visions escalated each time. The film also duly acknowledges the struggles of nannies including not being paid on time and also, frequently overworking them. It's just that Jusu presents a lot of promising elements in the film, but they don't all come together as spectacularly as I'd have liked. But whatever shes does next will be exciting to keep an eye on!