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Description
After being released from a juvenile detention center, Wellington finds himself alone and adrift on the streets of São Paulo, without any contact from his parents and lacking the resources to rebuild his life. During a visit to a porn theater, he encounters Ronaldo, a mature man, who teaches him new ways of surviving. Gradually, their relationship turns into a conflicting passion, oscillating between exploitation and protection, jealousy and complicity.
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Awards
Key opinion
Baby (Forgive, Kid) is a polarizing debut that eschews traditional trauma narratives in favor of a restrained, nonlinear portrait of post-assault existence. While admirers praise its humane, atmospheric, and nuanced approach to healing, detractors criticize the film as incoherent, pretentiously symbolic, and lacking in genuine character development.
| Screenplay | The film adopts a commendable, non-exploitative approach by centering on the internal aftermath of trauma rather than the spectacle of the assault itself. | |
| Cinematography | The use of static camerawork and a slow, deliberate rhythm successfully mirrors the protagonist's sense of detachment and lingering emotional stasis. | |
| Acting | Eva Viktor delivers a subtle, deeply felt lead performance that effectively communicates internal pain through restraint and awkward warmth. | |
| Humor | The film's blend of dark humor and serious drama is divisive, with some finding it a sincere tool for survival and others feeling it creates a disjointed, tonally inconsistent experience. | |
| Screenplay | The nonlinear, chapter-based structure is viewed by some as an elegant, mature way to organize a character study, while others perceive it as a narrative device that hides poor character development and lack of plot progression. | |
| Screenplay | The dialogue is a major point of contention, praised by some for its naturalism and criticized by others as stilted, forced, and failing to demonstrate the intellectual depth of the characters. |