Review: ‘Shiva Baby’ (2021), starring Rachel Sennott, Molly Gordon, Polly Draper, Danny Deferrari, Fred Melamed and Dianna Agron

August 25, 2023

by Carla Hay

Molly Gordon and Rachel Sennott in “Shiva Baby” (Photo courtesy of Utopia)

“Shiva Baby” (2021)

Directed by Emma Seligman

Culture Representation: Taking place in New York state, the comedy/drama film “Shiva Baby” features an all-white cast of characters representing the middle-class.

Culture Clash: A bisexual college student, who secretly makes money as a sex worker for male clients, finds herself in uncomfortable situations when she, her parents, her ex-girlfriend, a sex customer and his wife all end up at the same post-funeral reception. 

Culture Audience: “Shiva Baby” will appeal primarily to people who are fans of sarcastic and well-acted movies about people who have secret lives.

Dianna Agron and Danny Deferrari in “Shiva Baby” (Photo courtesy of Utopia)

“Shiva Baby” seamlessly blends hilarious comedy and sobering drama in this incisive story of a college student forced to reckon with secrets and lies during a tension-filled shiva reception. It’s a stellar feature film debut from writer/director Emma Seligman. The movie authentically represents American Jewish culture (almost every character in the movie is Jewish), which is a big part of the story, but the essential elements of the plot could have been about people in many other cultures.

Seligman is also one of the producers of “Shiva Baby,” which was selected to have its world premiere at the 2020 SXSW Film Festival, but the event was cancelled due to the COVID-19 pandemic. Jury prizes were still given for the event. “Shiva Baby” went on to win the John Cassavetes Award at the 2022 Film Independent Spirit Awards, presented to the creative team of a film with a production budget of less than $500,000. (The John Cassavetes Award’s qualifying amount has since been changed to a movie production budget of less than $1 million.)

“Shiva Baby” is based on Seligman’s 2018 short film of the same name that she made when she was a student at New York University. Rachel Sennott, another NYU alum, stars in both “Shiva Baby” films, which get their title from the fact that the story takes place primarily at a shiva reception, and the protagonist is a college student who feels like her parents still treat her like a baby. Both movies were filmed on location in New York state.

In the “Shiva Baby” feature film, Sennott portrays bisexual Danielle, who’s in her early 20s and in her last year at an unnamed university in New York City. Danielle comes from a middle-class family (the movie never mentions how her parents make money), where she is the only child of her parents. Danielle’s life is revealed in bits and pieces in the movie until a portrait emerges of a deeply insecure woman who’s been lying to people about many things in her life. What “Shiva Baby” viewers first find out about Danielle isn’t necessarily the truth about her.

The movie’s opening scene shows Danielle and a man in his mid-to-late 30s having sex at his apartment in New York City. Viewers don’t find out until a little later in the movie that his name is Max Beckett (played by Danny Deferrari), and he’s also been keeping secrets. Max has been giving money to Danielle in a “sexual arrangement” relationship. Some people in this line of work might call Max a “sugar daddy,” but the reality is that he’s a sex customer.

Danielle has told Max that she needs the money to pay for her tuition at Columbia University Law School, where she says she is currently a student. Max seems a little jealous of other men whom Danielle might be seeing for the same type of arrangement. “How are you going to get through law school if you’re screwing around with these guys?” Max asks. Danielle doesn’t give a direct answer, but she makes sure to get the cash that she wants from Max before she leaves.

Danielle will soon have a lot more to deal with than nosy questions from Max when she attends a shiva reception later that day. Her parents call Danielle to remind her to attend the funeral of someone whom Danielle didn’t even know. The funeral is on Long Island, where her parents live, and Danielle has to ask her parents what the name is of the person who died. The deceased person has a very distant connection to Danielle’s family and is described as the sister of the second wife of someone’s uncle.

Danielle’s mother Debbie (played by Polly Draper) is very talkative, uptight and domineering. Danielle’s father Joel (played by Fred Melamed) is sensitive, gentle and easygoing. Debbie, who doesn’t like to talk about Danielle being bisexual, has been pressuring Danielle to find a nice Jewish guy to marry. Debbie wants to think Danielle’s bisexuality is just an “experimental” phase that has ended for Danielle.

Danielle skips the funeral but she meets up with her parents after the funeral at the shiva reception taking place at the middle-class house of a relative of the deceased person. Danielle is taken aback because one of the first people she sees is her ex-lover Maya (played by Molly Gordon), who has known Danielle since they were kids. Maya is also an only child of her parents. Danielle asks her parents, “Why is Maya here?” Debbie warns Danielle, “No funny business with Maya.”

The rest of the movie takes place at this reception, which becomes an increasingly volatile minefield of emotions, as the scandalous secrets of Danielle and other people are in danger of being exposed. Throughout “Shiva Baby,” Danielle is seen going to the buffet table to grab something to eat, or she finds some wine to gulp, which is the movie’s way of showing how Danielle uses food and alcohol as a way to cope with the stress she’s experiencing at this gathering.

Danielle’s issues with food are brought up in other ways that hint that she might have an eating disorder as part of her personal history. At this reception, multiple people (including Danielle’s mother) comment to Danielle about how much weight she has lost. It’s mentioned later in the movie that when she was younger, Danielle was considered to be “chubby,” but she lost a lot of weight during her college years. Debbie quips to Danielle about Danielle’s physical appearance: “You look like Gyneth Paltrow on food stamps—and not in a good way.”

Also at this reception are Maya’s mother Katherine (played by Glynis Bell), who is a very judgmental gossip. Just like Danielle’s mother Debbie, Katherine is aware of but chooses not to discuss the fact that Danielle and Maya used to be lovers. Katherine also seems to think that Maya will eventually settle down with a husband.

At this party, Danielle is asked several times by various people if she’s dating anyone and what her plans are after graduation. Danielle is honest about not currently being involved in a serious romance, but she gives people different or vague answers about her post-graduation plans. It should come as no surprise that Danielle and Maya have unresolved feelings for each other. Maya, who is a confident overachiever, is more likely than Danielle to be truthful about her feelings.

Even though Danielle wants to be independent and find a job on her own, her mother Debbie constantly asks people to help Danielle find a job after she graduates. It’s later revealed that Danielle’s parents are paying for all her expenses and have access to her bank account records. Danielle has been lying to her parents about the money she gets through sex work. She tells her parents that she gets the money from babysitting.

Maya isn’t the only guest whom Danielle is surprised to see at this reception. Danielle is even more shocked to see Max there. Max has a big secret that he’s been keeping from Danielle, but she finds out his secret at this gathering: Max is married and has an 18-month-old daughter. And he might not be the one paying for the apartment where Max and Danielle have been having their trysts. Danielle also finds out at this reception that Max used to work for her father years ago.

Max’s wife and daughter arrive later at the reception. Max’s wife Kim Beckett (played by Dianna Agron), an elegant blonde, is described by some of the reception’s gossips as a “shiksa” (a somewhat derogatory word for a non-Jewish woman), who’s a successful entrepreneur with multiple businesses and who earns a lot more money than Max. Kim works from home so that she can take care of daughter Rose (played by Edgar Harmanci), whose frequent crying in the movie is used as one of the things that causes Danielle to become more anxious.

Although “Shiva Baby” is mainly about Danielle’s worlds colliding at this shiva reception, Max and (to a certain extent) Maya have their own secrets and role playing that they do at this gathering. In a desperate bid to assert her sexual attractiveness, Danielle goes in a bathroom at the house, impulsively takes a topless photo of herself using her phone, and sends the photo to Max. You can imagine what might happen next.

“Shiva Baby” has a lot of dialogue that crackles with underlying resentments and hard feelings, as bitter rivalries and jealousies play out but are disguised by small talk that has a forced pleasantness. This dialogue wouldn’t work as well if “Shiva Baby” did not have these very talented cast members acting out the dialogue in realistic ways, especially in portraying how people often say one thing but are thinking the complete opposite. “Shiva Baby” composer Ariel Marx’s tension-infused music perfectly conveys in the movie how Danielle feels like she’s in a pressure cooker that could explode at any moment.

Sennott shines in this starring role as the moody and complex Danielle, who finds herself in way over her head when she sees the horrifying reality that her lies aren’t as harmless as she thinks they’ve been. Draper is also a standout in the cast and has some of the funniest lines of dialogue in “Shiva Baby” as Danielle’s overbearing but well-meaning mother. When Danielle accuses Debbie of not being able to see queerness (also known as “gaydar”), Debbie snaps in response: “Excuse me, I lived through New York in the ’80s. My gaydar is as strong as a bull!”

Agron and Gordon are especially good at portraying people who are in love with someone who’s fickle and a habitual liar, but these betrayed lovers are willing to risk getting hurt to have that person’s love. Deferrari is also quite skilfull in his performance of a cheating husband who’s terrified of being exposed and trying to keep his composure. Melamed’s Joel character is one of the few in the movie who does not put on airs. Joel is genuine about who he is, but he mistakenly thinks everyone is like that too, so he fails to see clues of deception that are all around him.

“Shiva Baby” has a few slapstick comedy moments that involve mishaps and accidents at the party. But the movie is laser-sharp in how it takes aim at people who put on fake appearances of having a great life when they might actually be very insecure, miserable and jealous of other people who are happy. “Shiva Baby” isn’t cynical about love. Rather, this very memorable movie is ultimately a poignant depiction of how true love can be found when people are willing to show their true selves to each other.

Utopia released “Shiva Baby” in select U.S. cinemas and on digital and VOD on April 2, 2021. “Shiva Baby” became available on HBO, Max, Mubi, Blu-ray and DVD in July 2021. Utopia re-released “Shiva Baby” in select U.S. cinemas on August 4, 2023.

Review: ‘Together Together,’ starring Ed Helms and Patti Harrison

April 23, 2021

by Carla Hay

Ed Helms and Patti Harrison in “Together Together” (Photo by Tiffany Roohani/Bleecker Street)

“Together Together”

Directed by Nikole Beckwith

Culture Representation: Taking place in San Francisco, the dramedy film “Together Together” features a predominantly white cast of characters (with some Asians, Latinos and African Americans) representing the middle-class.

Culture Clash: A middle-aged bachelor hires a surrogate to carry his first child, and the two sometimes have conflicts over his controlling and neurotic ways during the pregnancy.

Culture Audience: “Together Together” will appeal primarily to people who are interested in seeing a unique and sometimes comedic spin on society’s stereotypes of single fathers and surrogates.

Ed Helms and Patti Harrison in “Together Together” (Photo by Tiffany Roohani/Bleecker Street)

“Together Together” pokes fun at and exposes a lot of preconceptions that people might have of gender roles, when it comes to people who choose to start a family without a partner and what it means to be a pregnancy surrogate in this situation. Written and directed by Nikole Beckwith, the movie adeptly combines comedy and drama without reducing the characters to becoming punchlines or melodramatic caricatures. Patti Harrison stands out for her winning performance as a conflicted 26-year-old named Anna, who decides to become a pregnancy surrogate and finds out that she’s not the only person in the surrogacy arrangement who has to deal with gender biases.

That’s because Anna is a surrogate for someone who typically doesn’t hire a surrogate to become a first-time parent: a heterosexual, never-married bachelor in his 40s who isn’t waiting to find his soul mate/life partner to start a family. This 45-year-old bachelor is named Matt (played by Ed Helms), and he and Anna both live in San Francisco, which makes it easier for them to see each other during the pregnancy. However, living in the same city also makes it easier for neurotic Matt to try to meddle in Anna’s life and control how she lives during the pregnancy.

Matt has a well-meaning tone to his control-freak ways, so he’s not as irritating in the movie as he could be. And certainly, Helms is skilled at playing an awkward nerd to comedic effect, since he’s been typecast in doing this type of character for most of his on-screen roles. What makes “Together Together” so entertaining to watch is the chemistry between Harrison and Helms as Anna and Matt. At first, Matt and Anna appear to be a mismatch, but they end up finding that they have a lot in common when it comes to feeling like misfits in their own families.

“Together Together” begins with Matt (who is an app developer) interviewing Anna (who’s a coffee shop barista) for the surrogacy arrangement. The conversation is clearly uncomfortable for both of them, but they try to make the best out of the situation without offending the other person. Because most people watching “Together Together” already know that Anna was chosen for this surrogacy arrangement, the movie doesn’t waste time with contrivances such as Matt interviewing other candidates.

During the interview, Matt asks Anna: “Have you ever stolen anything?” Anna replies, “Pens.” Matt then asks, “What’s the worst thing you’ve ever done?” Anna says, “That’s private.” His next question is, “Are you religious?” Her reply: “No. My family is, but we’re not close.”

When Matt asks Anna why she wants to be a pregnancy surrogate for him, Anna says, “This appeals to me because I know it’s not the best thing in the world to be alone.” As soon as she says it, Anna gets flustered because she knows that remark comes across as judgmental, so she apologizes profusely for making this potentially offensive remark and tries to clarify.

“I meant being alone isn’t a bad thing,” Anna comments. “I meant if family is important to someone, they should be able to make one. Plus, [I want] the money, not in a bad way. Putting a little karma in the bank never hurt anyone.” This back-and-forth mumblecore-like banter goes on for a few more minutes. And when it’s time for Anna to ask Matt any questions, she asks, “What’s the worst thing you’ve ever done?” And then, the scene ends.

It sets the tone for the rest of the movie, which divides its screenplay’s three acts according to each trimester of Anna’s pregnancy. In case viewers don’t know, the movie literally spells it out in title cards: “First Trimester,” “Second Trimester” and “Third Trimester.” Various people come and go in the movie, but Anna and Matt remain the central focus.

As Matt and Anna get to know each other, so too does the audience. Matt finds out early on in their relationship that Anna gave birth to a child (she won’t say what gender) when she was was 17 or 18 years old. Anna dropped out of high school because of the pregnancy, and she gave the child up for adoption. It was a closed adoption, so she has no idea where the child is now or who adopted the child. And she doesn’t want to know.

Anna doesn’t want to know the gender of the child she’s carrying for Matt. And when her pregnancy starts to show, she also doesn’t want to tell people why she got pregnant and who the father is. Why all the secrecy?

It becomes obvious that Anna has unresolved issues about her first pregnancy because of how it affected her relationship with the rest of her family, which includes her parents and her sister, who are not seen in the movie. It’s inferred that her family members live in an unnamed U.S. state that’s far away from California. In her interview with Matt, Anna said that her parents are religious, so viewers can easily guess how Anna’s parents reacted to Anna being an unwed pregnant teenager.

Anna eventually reveals to Matt that her parents not only disapproved of her teen pregnancy but they also angrily disagreed with her decision to give the child up for adoption. Based on some other things that Anna says about her family, it seems as if her parents thought it would have been better for Anna or someone in their family to raise the child. Later in the movie, Anna gets a call from her mother that leads Anna to make a decision that Anna didn’t expect to make.

Matt incorrectly assumes that Anna is pro-life because she didn’t have an abortion for her teen pregnancy, but Anna tells him that she’s actually pro-choice. There are several instances where Matt goes out of his way to try to say “politically correct” things to make Anna feel more at ease (for example, he announces in a pregnancy meditation group that they’re both feminists), but many times he ends up saying something that makes things more awkward.

Anna says she eventually got her GED and a college associate’s degree, but one of the reasons why she wants the surrogacy fee money (the movie shows she got paid $15,000) is because she wants to get bachelor’s and master’s degrees in hospitality. She found a university in Vermont that will allow her to get these degrees on an accelerated basis. As for her love life, Anna’s most recent relationship was with a guy named Jason, and he broke up with her for reasons that aren’t revealed.

Unlike Anna, Matt is close to his family. His parents Marty (played by Fred Melamed) and Adele (played by Nora Dunn) got divorced and are now remarried to other people. Matt’s younger brother Jacob (played by Timm Sharp) and Jacob’s wife Liz (played by Bianca Lopez) have two daughters together under the age of 3. They all live in the San Francisco area, so they get to see each other on a regular basis.

Marty, Jacob and Liz are happy for Matt and his impending fatherhood, while Adele is suspicious and judgmental about the surrogacy arrangement. Marty’s wife Dana (played by Terri Hoyos) and Adele’s husband Carson (played by Tucker Smallwood) are also supportive of Matt’s parenthood by surrogate pregnancy. Anna eventually meets all of these family members. As for Matt’s love life, Matt tells Anna that he was in a relationship for eight years with a woman he thought he might marry and start a family with, but the relationship didn’t work out.

Matt and Anna have their first major conflict in the first trimester, when Matt finds out that Anna had sex with a guy named Bryce (played by Evan Jonigkeit), whom Anna describes as probably a fling. Matt shows a very old-fashioned and ignorant side to him when he acts shocked and outraged that Anna could have sex while pregnant. When Matt meets Bryce for the first time, it’s after Bryce spent the night with Anna. Matt blurts out to Bryce and Anna: “Did you guys just fuck?”

It’s so rude and so socially clueless. Matt’s harsh reaction to Anna having a sex life while pregnant predictably leads to an argument. And that leads to a scene in an obstetrician’s office where Matt has to have it explained to him that it’s generally safe for a pregnant woman to have sex, unless she’s been told by a doctor that she can’t have sex for medical reasons. Matt is presumably well-educated as someone who works in the tech industry, but he’s woefully ignorant about a woman’s anatomy during pregnancy.

Matt tries to bring up a clause in the surrogacy contract that prohibits Anna from engaging in dangerous acts while pregnant, with Matt saying that sexual intercourse can fall under that clause. However, Anna and their obstetrician Jean (played with scene-stealing sarcasm by Sufe Bradshaw) shut Matt down with his extremely uptight reactions to the idea that Anna can’t have a sex life while pregnant. Although Matt’s reaction is over-the-top, it’s the movie’s way of pointing out how some people have sexist attitudes by believing pregnant women’s sexual needs are supposed to disappear during pregnancy.

“Together Together” mines some pregnancy rituals for some laughs and satire about people’s attitudes about gender roles in parenthood. Matt and Anna attend a pregnancy mediation class, where the so-called open-minded teacher (who tries to look like a New Age guru) is condescending and judgmental when she finds out that Anna is a single woman who is a surrogate. And when people find out that Matt and Anna aren’t a couple, Matt gets more credit and praise than Anna for being committed to going to these classes.

In their separate surrogacy support group sessions (Anna is in a group for for women, Matt is in a group for men), Matt is the only man in his group who is unmarried or without a partner/co-parent. He gets surprised reactions, but they’re not as insulting as some of the things that Anna experiences. There are straight and gay couples represented in the sessions for the support groups, meditation and childbirth preparation classes that Anna and Matt attend. As for how Anna and Matt are able to spend so much time attending all these classes and counseling sessions, it’s implied in the movie that Matt works from home, and Anna’s job at the coffee shop is part-time.

Anna experiences other casual forms of sexism, when she notices that people treat her in a more dismissive or judgmental manner when they find out that her pregnancy is a surrogate pregnancy. But she notices that when people find out that Matt is a single man who hired a surrogate, people react by saying it’s very progressive and “brave.” The message is clear with people who have this attitude: There’s still a stigma attached to being a pregnant woman who’s not married or without a partner, compared to being a pregnant woman who’s married or who has a partner.

Anna also has to experience the rudeness of over-enthusiastic people who touch her pregnant belly without permission. And then, by her third trimester, there are the people who impolitely comment on how “big” Anna is. It’s the movie’s way of showing that some people are insensitive to the fact that pregnant women already know they’ve gained weight and they don’t need it pointed out to them in a body-shaming way, even if the commenter didn’t intend to be offensive. And then there are people (such as Matt’s mother Adele) who say that Anna must be that big because the baby is probably a boy.

Meanwhile, the gender discrimination that Matt experiences isn’t as embarrassing. After people get over the shock that he hired a surrogate and he wants to be a single father, they generally think that what he’s doing is somehow groundbreaking. It helps that he lives in a liberal city such as San Francisco. “Together Together” would have been a very different (and possibly more interesting) movie if Anna and Matt lived in an area that wasn’t so open-minded and accepting of their surrogacy arrangement.

Compared to Anna, Matt doesn’t have as many challenges during this pregnancy. One of Matt’s biggest “problems” is that he can’t find any advice books on being a single father who hires a surrogate, because most books about being a single father have to do with being widowed, divorced or fighting for child custody. Matt goes all-out in preparing for his child, including buying a book that gives in-depth analysis of every conceivable color to paint a baby’s bedroom and how each color might psychologically affect the child. And, as expected, because he’s kind of an obsessive control freak, Matt wants to monitor and judge everything that Anna is eating and drinking while she’s pregnant.

It’s implied that because of the traumatic experience that Anna had with her teen pregnancy, she doesn’t want to know the gender of the child she’s carrying for Matt. Matt wants to know the gender before the baby is born. And so, he and Anna argue a little about it during an ultrasound appointment. Meanwhile, obstetrician Jean witnesses a lot of this bickering and tries not to say out loud what she’s thinking, but it’s written all over her face.

Eventually, Matt decides that if he found out the gender, it would be too hard for him to keep it a secret, so he goes along with Anna’s wish for him to not find out until the baby is born. Matt also promises that he won’t tell Anna the gender of the child after she gives birth. Matt will be the one to name the child after the baby is born.

But while Anna is pregnant, they both agree that they should give the child a gender-neutral name. There’s a comical segment where Anna and Matt go through a series of names. They disagree on and reject several names until they eventually decide to call the unborn child Lamp.

In addition to their respective surrogacy support groups, Anna and Matt get surrogacy counseling from a non-judgmental therapist named Madeline (played by Tig Notaro), who doesn’t do much but listen to Anna and Matt’s neurotic rambling. Anna also confides in a sassy barista co-worker named Jules (played by Julio Torres), who is in his early 20s, openly queer (he dates men and women), and is apparently Anna’s closest friend. Jules is one of the few people whom Anna told that her pregnancy is a surrogate pregnancy and that Matt is the biological father. Jules, who is very opinionated, warns Anna about the complications of getting emotionally involved with Matt, whom Jules eyes suspiciously when Matt visits the coffee shop.

Anna and Matt’s initial discomfort with each other evolves into a deeper understanding of each other. In their own separate ways, they experience prejudice and misunderstandings from other people about their unusual surrogacy situation. And how they navigate their relationship, while coming to terms with how this surrogate pregnancy will change them, makes this movie work so well.

But as Anna and Matt become friends, Anna feels conflicted and confused over how attached she should become to someone who will be raising a child whom she doesn’t want to know. And when she attends a baby shower that Matt has thrown for himself (the party was Anna’s idea), Anna gets an eye-opening experience on how she’s perceived by the people he’s closest to in his life. Instead of the party guests remembering Anna’s name, they call her “the surrogate.” While Matt has people congratulating him at the party, she’s often ignored.

“Together Together” could have been a very gimmicky movie, but it’s held together by witty dialogue and truthful satires. One of the movie’s main intended takeaways is how much women bear the biggest brunt of indignities when it comes to pregnancies. And even though Anna and Matt end up becoming friends, there’s still an unbalanced power dynamic between them because he’s paying her to have his child and paying all of her pregnancy expenses.

When they hang out together, Matt is the one who usually decides what they do (they end up watching every episode of the sitcom “Friends”) and he sometimes acts like a know-it-all. He’s shocked that Anna knew very little about “Friends” before she met him. It’s as if Matt can’t take into account that a lot of people don’t really watch TV and are unaware of all the characters in popular TV shows. And so, he insists that he and Anna will watch every episode of “Friends.”

Anna is also acutely aware of the age difference between herself and Matt, who doesn’t seem to think their nearly 20-year-age gap is that big of a deal. (It’s probably because Matt is emotionally immature in a lot of ways.) This leads to Anna going into a monologue about Woody Allen that has to be seen in the movie to be believed. People will either laugh and/or cringe at this monologue.

“Together Together” has some sharp observations of how well-intentioned men, even those who think that they’re “feminists,” can still have patriarchal and possessive attitudes over pregnant women’s bodies. For example, Matt (who thinks he’s a progressive liberal) was quick to try to use his surrogate contract with Anna as a legal way to stop Anna from having sex while she was pregnant. Although he ultimately failed to police Anna’s sex life, the fact that he wanted to doesn’t make it any less alarming.

Ultimately, “Together Together,” like the title suggests, is not about a battle of the sexes. It shows with a lot of amusing charm how people in unusual pregnancy situations can overcome fears and prejudices, or at least cope in the best way that they can. And if an unexpected friendship can come out if it, that’s an added bonus.

Bleecker Street released “Together Together” in U.S. cinemas on April 23, 2021. The movie’s digital and VOD release date is on May 11, 2021.

Review: ‘The Vigil’ (2021), starring Dave Davis, Malky Goldman, Menashe Lustig, Fred Melamed and Lynn Cohen

April 3, 2021

by Carla Hay

Dave Davis in “The Vigil” (Photo courtesy of IFC Films/IFC Midnight)

“The Vigil” (2021)

Directed by Keith Thomas

Some language in Hebrew with subtitles

Culture Representation: Taking place in New York City, the horror film “The Vigil” features an all-white cast of characters representing a middle-class Jewish American community.

Culture Clash: A man has ghostly encounters when he’s recruited to keep vigil over a recently deceased man’s body, as part of a Jewish religious custom. 

Culture Audience: “The Vigil” will appeal primarily to people who like uncomplicated but spooky ghost stories.

Lynn Cohen in “The Vigil” (Photo courtesy of IFC Films/IFC Midnight)

Many horror stories try to be overly complex with plot twists galore or convoluted backstories for the characters. However, “The Vigil” (written and directed by Keith Thomas) takes an effective “less is more” approach by keeping the story simple while still delivering on some genuinely creepy scares. It’s the type of movie that does a lot with its modest budget.

“The Vigil” begins with a written on-screen intro that sets up what’s about to happen in the story: “For thousands of years, religious Jews have practiced the ritual of ‘the vigil.’ When a member of the community dies, the body is watched over ’round the clock in shifts by a shomer, or watchman, who recites the Psalms to comfort the deceased soul’s and protect it from unseen evil. This watchman is typically a family member or friend. Shomers are hired to sit the vigil when no on else can.”

The movie’s opening scene is of a SS Nazi officer (played by Hunter Menken) forcing a young man to shoot a woman while they are in the woods. Meanwhile, a sinister shadowy creature approaches them from behind. A shotgun is heard, and then the movie’s next scene takes place in the present day. What happened in this World War II-era scene is later revealed in the story. At some point in the movie, it’s pretty easy to figure out who the young man is, but that doesn’t take away from how “The Vigil” succeeds at building a lot of horror suspense.

The majority of the film takes place in New York City’s Brooklyn borough, where a group of Israeli Jewish immigrants, who are in their late 20s to mid-30s, have gathered for a house party dinner. There are four men and two women in attendance at this dinner. And based on the conversation, almost all of them have recently moved to New York City.

The leader of the group is named Lane (played by Nati Rabinowitz), who has lived in New York the longest and has been acting as an advisor to the rest of the immigrants. The dinner conversation is mostly casual but serious. A woman named Adinah (played by Lea Kalisch) remarks that men in the U.S. are more sexually forward than men in Israel.

A man named Yakov Ronen (played by Dave Davis), who’s one of the older people in the group, is unemployed and mentions that he recently didn’t get a job that he wanted. Yakov also says that he’s financially struggling and that he’s had to choose between paying for medication or paying for meals. It’s never really made clear in the movie what type of career Yakov wants, but he gives the impression that he’s desperate for any type of job at this point.

Lane gives some words of comfort by saying, “This is a journey. And being here struggling the way you are is only one stop on that journey. If we get bogged down and see this as a destination, we lose hope.” Is this a dinner party or a support group meeting? It seems to be both.

The other woman at the table is named Sarah (played by Malky Goldman), who begins flirting with Yakov. Eventually, she asks him out for a coffee date, and he says yes, so they exchange phone numbers. Yakov fumbles a little with his phone, and says it’s because his phone is new and he’s still getting used to you it. You know what that means in a horror story when it comes time to use a phone in an emergency.

After the dinner, a man named Reb Shulem (played by Menashe Lustig), who’s dressed as an Orthodox Jew and who’s been lurking outside the building, approaches Yakov and Lane as they walk outside. Lane scolds Reb and tells him not to harass members of this group. After Lane leaves, Reb begins talking to Yakov and asks him how Yakov likes his new lifestyle. Yakov cryptically says, “I have my reasons for leaving.”

Reb tells Yakov that a family whose patriarch has died needs a shomer to sit for a vigil at night until the following morning. The job will take approximately five hours. According to Reb, this sudden need came about because the shomer who was originally scheduled to do the vigil abruptly left and is no longer available.

Yakov is very reluctant at first, but he needs the money. It’s implied throughout the story that Yakov has lost his faith in religion. The movie later reveals why. Reb offers $200 for the vigil job, but Yakov is able to negotiate it up to $500 because it’s a job that’s on short notice.

The deceased man whom Yakov has to watch over is named Rubin Litvak (played by Ronald Cohen), and all Yakov knows about him is from what Reb has told him: Rubin was a Holocaust survivor and his children are estranged from him. Reb says that when Rubin was alive, “he was a good man” but “a little weird” and he lived as a recluse with his wife. She goes by the name of Mrs. Litvak (played by Lynn Cohen), and her first name is not revealed in the film, but Reb tells Yakov that she has Alzheimer’s disease.

The Litvak house is in Brooklyn’s Borough Park neighborhood. And as soon as Reb and Yakov arrive, there’s some discord, because Mrs. Litvak, for whatever reason, doesn’t approve of Yakov. She tells Reb in a dismissive tone of voice what her thoughts are on Yakov, “He won’t work. He needs to leave now.”

Reb tells Mrs. Litvak that she has no choice because no one else is going to be available to be the shomer on short notice. And so, Mrs. Litvak agrees to let Yakov stay, but she isn’t very friendly to him. The house remains darkly lit for most of the story, to add to the creepy atmosphere.

Mr. Litvak’s body is covered by a white sheet in the living room. As Yakov begins his vigil by sitting nearby, he goes on his phone and does an online search for articles about how to talk to women. It isn’t long before things start to get weird, beginning with lamps that flicker for no reason.

“The Vigil” is definitely a “things that go bump in the night” movie, because the movie’s sound design and Michael Yezerski’s chilling music score go a long way in ramping up the horror and the tension in the story. Yakov also starts to see things and wonders if they’re real or not. Mrs. Litvak also lurks around and suddenly appears in “jump scare” moments.

One of the reasons why “The Vigil” is a good mystery is because it’s revealed later in the story that Yakov has had some mental health issues. And so, viewers are left to wonder how much of what’s happening might just all be in his head, or if there really is a supernatural force in the house. At one point, Yakov calls his psychiatrist Dr. Marvin Kohlberg (played by Fred Melamed), which might or might nor help the situation.

Does Yakov try to leave? Of course he does. But something happens that reveals why Yakov became disillusioned with religion and possibly had a nervous breakdown. When he tries to leave the house, it’s a metaphor for him trying to run away from disturbing things from his past.

In his memorable portrayal of Yakov, whose scenes are in about 90% of the movie, Davis does an admirable job of conveying all the complexities and nuances of someone who has been struggling to find happiness, only to face a terror that he didn’t expect. Whether or not the horror is real or all in his head, the movies takes viewers on the same journey as Yakov and will make people feel his discomfort and pain. Lynn Cohen (who passed away in 2020) also gives an effective performance in “The Vigil,” which was one of her final appearances in a feature film.

“The Vigil” is a horror movie that isn’t particularly original, because there have been so many films about people trapped somewhere with frightening spirits. However, “The Vigil” stands out because of how it creatively blends ancient Jewish religious traditions in a setting of a modern Jewish American society. It’s definitely the type of movie that will have the biggest impact if it’s seen in a dark room on the biggest screen possible. And some viewers might feel like they have to sleep with the light on after seeing this haunting thriller.

IFC Films/IFC Midnight released “The Vigil” in select U.S. cinemas, on digital and VOD on February 26, 2021.

Copyright 2017-2024 Culture Mix
CULTURE MIX