There’s no shortage of nanny’s who come over from abroad, drop down in a completely foreign environment and are left at the mercy of their employers. So the level of uncertainty requires an element of bravery that many of us would not have. Fortunately, most land in good situations and gain from the experience. Of course, there’s always stories, and writer/director Brian Reynolds tells us one. Jennifer “Georgia” Gould playing the title role, she’s exactly what’s expected, but in this story, the unexpected is really going to get you and stick.
Nonetheless, the film begins like the worst of these stories. Hired by a very rich family, Aino lands in a small jet and disembarks in an empty field. In the middle of Midwest nowhere, she might as well be on the moon, and with a small knapsack as life support, the Finnish girl looks less at ease than Neil Armstrong. Even worse, the pilot takes off in a truck, and she’s left all alone.
A state of panic most of us would be in, Aino simply does what the people from her small town would do without hesitation – she starts walking.
The good news is that her arrival is not a complete oversight. The local deputy (Hayes Beyersdorfer) spots her on the barren road and provides the intended lift. Still, what kind of entitled employer doesn’t make every attempt to sync up the travel logistics.
The deputy is no great assurance either. A complete country bumpkin, Beyersdorfer’s ‘oh shucks’ portrayal is actually pretty imposing in its inappropriateness and makes poor Aino realize how far from home she really is.
Gould has got it down too. Her resigned eyes, constantly pouting face and timid European accent all have her sitting in wait of the shoe to drop. Alongside the language and cultural barriers she must bridge comes across so well, that you can’t be sure Gould is actually acting.
And the fun has yet to even begin. Enter the happy couple, they don’t wait to let us know that they are worse than could be imagined.
Brendan’s startled reaction to her sudden appearance is definitely not in any human resources manual and off camera Robin (Angela Sauer) doesn’t get three words out before issuing a profanity, “who the fuck is that?” – Sauer puts her teeth into it before we see her fangs.
Robin referring to her baby as “it” doesn’t garner any points for being human either but Brendan (Adam Kitchen) still gives her plenty of reason to ooze with disdain. In an arranged marriage with him, the couple’s production of the said baby was a requirement, and even with the opulent living arrangements, she’s not making the best of the riches involved.
No doubt, Brendan makes being civil pretty hard. Aside from a lack of sophistication, blatant narcissism and an undeserved arrogance, Kitchen exudes a creepiness that goes beyond a leering eye.
Thus, he may have never committed sexual assault but he has no problem making light of the subject. Brendan’s mannerisms suggest that he thinks the behavior would amount to an appropriate form of pleasure.
So caught in the middle of this sleazy contractual obligation is Aino, and the foreboding score (Jeff Tinsley) and Michael Boehler cinematography really piles on. The bottomless notes sound like the nanny is heading into a tunnel with no light at the end, and the low light shots and out of focus backgrounds, shrouds Aino’s predicament into the shadows in which it resides.
The character interaction then does the rest. Gould is passive and powerless, and the domination by Kitchen and Sauer puts the nanny in the purview of a prisoner. So much so that you feel like the two actors have to apologize to their co star after the scenes are completed.
Fortunately, Robin does ease up after the set up, but the drama picks up nonetheless. The neglectful mother reveals the complexities and subtle danger of the arrangement, and Aino is now part of the conundrum.
Not done, Marvin the family lawyer (Phil Abrams) doubles down. He instructs Aino that she must persevere with the raising of the child, and lays failure down in no uncertain terms. “You will never have to worry about anything ever again,” Abrams’ chill extends beyond the fourth wall.
The full force now revealed, Aino proves not so powerless. Her relationship with Robin goes deeper, and in working the triangle, she gets Brendan’s ear too. Didn’t see that coming, this movie is just getting started, and when the twists and turns are done, this is one nanny cam you won’t want to turn off.