☛ Cette critique est aussi disponible en français [➦].

Translated by Gabrielle Baillargeon Michaud.

Babysitter, the second feature film by Monia Chokri, is an adaptation of the play of the same name written by Catherine Léger in 2017. It is a satirical feminist comedy that addresses contemporary issues, such as the denunciation sexist behavior and postpartum depression. Although it maintains Chokri’s characteristic humor and wit, familiar to audiences since La femme de mon frère (2019), the seriousness of the narrative is contrasted with a more experimental approach.

Following a sexist joke — a kiss given on the cheek of a TV presenter without her consent as she was covering a live sports event — Cédric (Patrick Hivon) is indefinitely suspended from his professional association, The Ordre des ingénieurs du Québec. This scenario is a bitter reminder of recent events where Simon Houle, a real-life engineer, received a conditional discharge in July 2022 after pleading guilty to sexual assault. In Babysitter, Cédric decides to write a book about misogyny to publicly apologize to all women (including famous American actresses and singers). Meanwhile, Nadine (Monia Chokri), a stay-at-home mother and Cédric's partner is experiencing postpartum depression, feeling bored and frustrated with domestic chores and parenting. When Amy, a candid babysitter (Nadia Terezkiewicz), is hired, the household order is disrupted.

Babysitter's biting, humorous, and disquieting aesthetic sharply accentuates its critique of misogyny, a recurring theme throughout the film. In the workplace, misogyny surfaces as male engineers organize exclusive sports nights and diminish their female superior's authority by disparaging her forthright sexual demeanor. At home, it appears in the traditional division of gender roles: an overwhelmed father hires a nanny for domestic chores so he can concentrate on his book. This literary endeavor deftly illustrates how those publicly accused can transform denunciation into something of value, an asset, or capital. The babysitter's introduction plays a pivotal role in Nadine's narrative, helping her manage postpartum depression. Nadine regains a sense of agency and power through role-playing games with the nanny. As the film progresses, its aesthetic evolves into a parody of horror and fantasy genres. Employing disorienting cinematography, the deconstruction of Nadine's gender roles and expectations mirrors the dismantling of traditional genre boundaries.

Babysitter, more experimental than Monia Chokri's debut feature, offers a feminist critique of sexist behavior and the gendered division of labour enforced by patriarchy. Although the film centers on deconstructing gender norms, it notably confines its narrative to a bourgeois heterosexual family, omitting any representation of trans or non-binary characters. Despite this limitation, Babysitter is a comedy that skillfully melds social and feminist critique with a distinct sense of unease, positioning it as a potent force both aesthetically and sexologically.

Reference

Director/Creator: Monia Chokri 
Title: Babysitter
Release date: June 3, 2022

This movie is available on Apple Tv.