Babysitter

An unhinged work that captures the escalating madness of untangling entire social webs through the lens of a single person or event, Babysitter charges through the ruins of mainstream cinema’s post-#MeToo moment.

Chokri’s work has a pulse that beats so hard it could split veins. Yet, it remains in a reality that is vulnerable to suddenly wacky quakes.

Even if you're not totally on its wavelength, watching Chokri's stylish fable is like panning for gold: It will present you with several nuggets worthy of closer examination.

The film is based on screenwriter Catherine Léger’s play, and perhaps the herky-jerk structure works on stage. On screen, however, it just feels undisciplined, as its Quentin Dupieux-style visual drollery never quite gels with its more obvious, broadly smutty farce.

There are clearly-defined targets, to be sure, but Babysitter struggles to make the point that perhaps we’re all human. It’s somewhat cringe-inducing by design, but the satire and humor feel dated.