Cinema and television have been trying to represent this for years maternity in key horror without, however, arriving at a result worthy of being remembered. The Babythe new series of HBO available on Sky from June 16, it succeeds by focusing on an unprecedented combo linked to both the register comic than to that dramatic, laying the foundations for a story as absurd as it is compelling. At the center of everything there is Natasha (Michelle De Swarte), career woman who can’t stand children and never misses an opportunity to tease her best friends, happy and loving mothers, for this. Of her Yours cynicism and his sagacity they make it to us right away nice because we know that, shortly thereafter, something will fall from the sky. It is a baby that literally falls on her in my arms from a cliff. The woman who looked after him until a moment before her died in the impact, while the child was spared thanks to Natasha’s grip, which she would never have expected to be so close to an infant in her life. .
The problem, however, is simple: no matter how hard Natasha tries, the baby seems not to let her go. It is as if the baby has gods Magic powers who manage to kill all the people who are close to him and who, in this case, do not correspond to the name of Natasha. The woman thinks she is going crazy: she does not understand why that child has entered her life nor how to abandon him in order to return to her life as always. At some point it will become clear that until she finds out where that little creature is coming from she will never really be free. The Baby starts from here: from the story of a woman who gives life to different people tragicomic curtains and who, in spite of himself, will find himself witnessing gruesome killings that would be the envy of a Tarantino film. The child, apparently docile and beautiful, hides, in fact, a Mephistophelic soul able to let loose in all its destructive power every time he resents and every time someone seems to want to snatch him from Natasha’s care, a bit like her Carrie from Stephen Kingbut in miniature format.
The result is one horror-comedy really amazing which looks nothing like what television has proposed in recent years, a metaphor for a condition that is flourishing in literature today. The latest examples are those of Teresa Ciabatti, Antonella Lattanzi and, above all, Ashley Audrain, who in their works well describe the dark side of motherhood. The Baby those “horrible” and “forbidden” thoughts represent them in a hyperbolic and exaggerated way, allowing, despite the absurdity of the plot, the viewer to identify himself anyway, that deadly grip that the child exercises on Natasha and all women predestined to care for her, the ability to drain their life force and kill them.
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Source: Vanity Fair
