Babyteeth - Review

Director: Shannon Murphy
Starring: Eliza Scanlen, Toby Wallace, Emily Barclay, Eugene Gilfedder, Essie Davis, Ben Mendelsohn

Seriously ill teenager Milla (Scanlen) falls in love with Moses, a wayward young man and small-time drug dealer, much to her parents chagrin. However, Milla's relationship with Moses reinvigorates and gives her a newfound zest for life.

Five Feet Apart, Me and Earl and the Dying Girl, The Fault in Our Stars. Over the past few years, the terminally-ill teenage romance genre has had a host of entries. Whilst each film is not without its merits, they do adhere to a strict formula. Shannon Murphy's debut Babyteeth bucks this pattern of predictability in a bold and relentlessly artistic fashion, favouring nuanced exploration over forced and manipulative emotion - although there are plenty of tears to be shed.

Milla and Moses meet on a train station platform after he accidentally shoves into her and goes on to stem her nosebleed with his t-shirt, lowering Milla to the ground and cradling him in his arms. The mutual attraction and intrigue is immediate, but so is Moses's unreliable and fleeting nature. Despite the red flags that his behaviour raises, Milla is infatuated and her parents' disapproval of her new relationship cannot deter her. Scanlen, who burst onto our screens with her rousing performance in HBO's Sharp Objects, continues to prove her diversity and intellect as an actress, intrepidly inhabiting the complexities of her character. Milla is intense yet goofy, wilful yet vulnerable and manages to garner our sympathies and frustrations as she pursues a seemingly destructive relationship. 

Beyond the burgeoning romance of our star-crossed lovers, Babyteeth refreshingly adds layers of complication to a story that sits within a well explored genre. Milla's family and the dysfunction that arises from their incredibly affecting and uncompromising situation is given ample consideration in a way that distinguishes itself from every other film you've seen that focuses on a teenager's battle with terminal illness. Milla's ex-concert pianist mother Anna and psychiatrist father Henry both literally medicate to ease and manage their emotional pain as they attempt to guide the family through unimaginable hardship with minimal scathing. However, all parties involved realise that there is no textbook to teach you how to navigate such wretched circumstances and accept that mistakes will be made along the way to achieving a fraction of happiness and normality. Babyteeth does not seek to vilify anyone for their behaviour but instead offers a sympathetic portrayal of people trying to live a life that has been rendered so unjustly unfair.

The film utilises titled vignettes that are reminiscent of act structures in a play (Murphy's background is in the theatre) and each instalment, no matter how brief or interluding, bookmarks the entries of Milla's life from the moment she meets Moses. As well as a unique approach to storytelling, Murphy also creates a dreamy aesthetic from a life of daunting domesticity, capturing the growing intimacy between Milla and Moses; the nearly-touching knees as they sit together on the subway, the play fighting and roughhousing. It's the space between their bodies as they become more emotionally bonded that curates such palpable tension and Murphy employs this to great effect. 

Emotionally riveting and profoundly artistic, Shannon Murphy's fearless debut about young love and familial suffering smartly subverts the expectations of the genre and offers an unflinching depiction of humanity.

EB

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