A widowed woman with a six-year-old son begins to pursue the monster Babaduk - a hero from horror stories. At first, the nervous and strange behavior of the mother and son seems understandable to those around them - it is difficult for them to live without male support. But soon the true reasons are revealed, because at night Babaduk comes to them to scare them to death ...
The Babadook 4K ReviewAmelia (Essie Davis) one day became a mother and a widow - on the way to the hospital, the car in which she and her husband were traveling had an accident. Years have passed since then, Amelia's son Sam (Noah Wiseman) is already attending school, but everyone around him considers him a boy with problems. This is not surprising, because Robbie is possessed by monsters and easily loses control of himself. One day, a boy asks his mother to read him a book about Babaduk, a monster that hides in the dark corners of rooms and makes people do terrible things, before going to bed. Since then, Robbie loses his peace, and with him Amelia slowly flies off the coils - she also begins to see Babaduk.
From the outside, it may seem that the horror film genre is extremely easy to learn - just fill the screen with liters of ketchup or pump up suspense with a picture darkened to illegibility and intense music - but this is not so. If only because fear is a rather private and intimate thing, and it is impossible by definition to make a movie that would scare everyone without exception. And therefore, horror films, the creators of which not only brilliantly work out genre mechanisms, but also manage to simultaneously raise questions that are more acute, general and deeper, arouse not just interest, but genuine admiration. That is why “Babaduk” is one of the most important films for horror films of the outgoing year.
"Babaduk" is designed in such a way that behind the outer layer - the classic "bogeyman horror story" terrorizing an already problematic family (the first and most faithful associations here are "A Nightmare on Elm Street" and "Candyman"), there is a second bottom, allegorical a drama about a widow who cannot let go of her long-dead husband. Amelia does not celebrate Sam's birthdays, she is cold to him and subconsciously blames her son for the death of her lover. She has no relationships with men, and any mention of her spouse from others causes Amelia bouts of irritation and aggression.
Screenwriter and director of the film Jennifer Kent uses the figure of Babadook to exacerbate these feelings to the limit, make them hypertrophied, but at the same time remain understandable and recognizable. And this is a rare case when to achieve such intelligibility and transparency, while avoiding intrusiveness and tension, it is, in general, possible for a novice creator (behind Kent there is only one episode of the series and a short film). There is everything here - repressed pain, and forced early growing up, and alternately tormenting resentment and guilt, and all this is unusually organically woven into the formula of mystical horror. Aerobatics in this sense is the final scene, which when refracted to the "second bottom" is read as a beautiful, comprehensive epilogue to any story about overcoming tragedy and beginning a new life.
The technical side of the picture is worth mentioning separately. Despite the rather modest budget of two million dollars, the picture looks extremely atmospheric - there is also a skillful play of light and shadow, and several very curious camera techniques (pay attention to the scenes in which Amelia suffers from insomnia), and a tangible effect of presence. And this rattle "ba-ba-ba duk-duk-duk!", Heralding the appearance of a monster ?! "Babaduk" is a real gift for connoisseurs of horror games "with brains" and a powerful marker for those producers, directors and screenwriters who for some reason believe that horror films are such a constructor, in which there are only old cliches, which are not even necessary as- then convincingly hold together. Recognize already that you simply do not know how to cook them.