Baba is a chaotic experience that is, at the same time, very precisely controlled; there is not a single second that feels wasted on anything remotely superficial. Directors Anya Chirkova and Meran Ismailsoy create an experience akin to a cinematic pressure cooker by doing justice to Maziyhar Khatam’s screenplay. It was awarded the prize for Best Canadian Short at the 2022 Vancouver International Film Festival, and it is currently being shown at the Sundance Film Festival.
Amir Zavosh plays the role of a middle-aged Iranian father who is desperately attempting to keep his apartment and turn his life around, while simultaneously making everyone else’s completely miserable. To him, it doesn’t matter whether the rent isn’t paid, the parties are too noisy, or if he has to sell the artworks that were previously treasured by his estranged wife. Even worse, he drags his son, who is played by Khatam, into his problems by having him act as a mediator between him and his irate landlord (James Choy). When a supposed buyer, played by Sina Djamshidiat, comes to buy a painting, things get even more complicated.
Simply put, Zavosh is superb, and with his character’s despicable behavior, he earns both ire and moments of sympathy from the audience. The ravings of a man who is obviously losing control of himself are perfectly counterbalanced by Khatam and Choy, who are brilliant foils in their own right. This dynamic among the three actors is kept in a state of constant limbo over the course of the short, but the filmmakers do not overlook the necessity of allowing the audience’s impression of these characters to develop alongside the plot. It is these complexities that contribute to the film’s increased sense of realism.
From the very beginning, it’s a complete assault on the senses, which keeps the framing tight and the tensions flaring. Adding to this are composers Saba Alizadeh and Rojin Sharafi, who leave their mark with a spine-tingling score. The unrelenting style of Baba is reminiscent of the Safdie brothers, who have perfected anxiety-driven cinema with movies like Good Time and Uncut Gems. A life that is falling apart due to overwhelming pressure is unquestionably more terrifying than any catastrophe a horror premise could conjure. It’s a frightening and downright sickening predicament, made all the more meaningful by the surprising twist ending.
Bolstered by strong performances across the board, Baba is matched by a thought-provoking and often disturbing story that sticks with you. . . long after the credits have rolled.