The Chilean-born, New York-based Sebastian Silva (The Maid, Crystal Fairy & the Magical Cactus) is one of the more original filmmakers working today, and Nasty Baby (currently playing at the Music Box) offers ample proof of his talents. The film feels like few other comedies I’ve seen, sustaining a nervous energy that gives it the air of psychological horror even when relatively little is taking place. The unaccountable tone is exhilarating—you never know what’s going to happen next, and you watch the film in a state of constant suspense. This suspense extends to Silva’s handling of character: the subjects of Nasty Baby are alternately monstrous and sympathetic, and Silva keeps the audience in flux as to how to read them.
Despite the characters’ faults, however, one never questions their affection for one another. There’s warmth in Nasty Baby‘s depiction of the characters’ relationship, which is rooted in honesty and comfort. (The film is by no means a straightforward critique of hipster entitlement a la Rick Alverson’s The Comedy.) One recognizes a sense of wonder in the characters’ playful behavior, even when it makes others uncomfortable. These people are curious about the world around them—they want to experiment with traditional adult roles and create something new. What the results will be are anybody’s guess. Nobody seems entirely sure of what they’re doing, yet Silva makes it clear that they’re acting out of a sense of optimism.
