《喪日少女》是一部情節扣人心弦的電影，它融合了喜劇和成長(cháng)故事。故事的主線(xiàn)圍繞著(zhù)丹妮爾即將大學(xué)畢業(yè)，但對未來(lái)的規劃感到迷茫。丹妮爾面臨著(zhù)來(lái)自各方面的壓力，這使得她無(wú)法控制自己的飲食和健康。她陷入了一個(gè)無(wú)休止的循環(huán)中，不斷地攝入食物，卻無(wú)法滿(mǎn)足自己內心的需求。這種困境讓她感到絕望和無(wú)助。然而，在一場(chǎng)葬禮上，丹妮爾被自己的父母、高中前女友以及一個(gè)神秘的“特殊熟客”所圍困。這些人的出現使她感到更加壓抑，甚至到了崩潰的邊緣。她感到自己無(wú)處可逃，仿佛被困在一個(gè)沒(méi)有出口的迷宮中。然而，在丹妮爾絕望之時(shí)，一個(gè)意想不到的人出現了。這個(gè)人就是她的舊愛(ài)，他理解丹妮爾的困境，并給予了她理解和救贖。通過(guò)與舊愛(ài)的交流和支持，丹妮爾逐漸找到了自己的方向，并開(kāi)始重新審視自己的生活。《喪日少女》不僅僅是一部喜劇電影，它還通過(guò)丹妮爾的成長(cháng)故事向觀(guān)眾傳遞了許多深刻的思考。它提醒我們，在面對困境和壓力時(shí)，我們應該尋找支持和理解，并勇敢地面對自己的內心。這部電影通過(guò)幽默和感人的方式，給觀(guān)眾留下了深刻的印象，讓人對生活和人性有了更深入的思考。

It’s debut feature assessment time! Two aspiring female filmmakers delight and impress us in rather different ways. Emma Seligman’s SHIVA BABY, a US-Canada production extended from her eponymous short, is a faux-spontaneous, concise film that whirls around almost in real-time, it runs only 77 minutes but what a whirlpool of anxiety-ridden quagmire it is! SAINT MAUD is a British psychological horror about a Catholic zealot consumed by her savior complex, first-time director Rose Glass stylishly flexes her muscles of genre-moviemaking and it features a blue-ribbon performance from Morfydd Clark.

In SHIVA BABY, American Jewish college girl Danielle (Sennott) attends a shiva with her parents. There she touches base with her ex-girlfriend Maya (Gordon) and bumps into Max (Deferrari), who is the last person in this world she wants to see under the circumstances, one of her clients since on the sly, Danielle moonlights as a fille de joie to earn some quick cash, which her clueless parents think she earns from baby-sitting.

Actually, a sitter is gravely needed when Max’s Gentile wife Kim (Agron) brings their bawling bundle of joy to the shiva, Danielle’s secret is at risk when telltale signs are observed by Kim, her naive act of sexual autonomy backfires and it is Maya who twigs her side hustle, a falling-out dampens their renewed passion. Beset by family friends’ gossipy inquiry, a hot-and-bothered Danielle is desperate to leave, when measured small talk becomes exceedingly awkward, only a cup of lukewarm coffee can offer her a breather, and the family’s egress is another scrape where everybody is squeezed out of their comfort zone but Seligman also celebrates the girls’ solidarity whereas their older generation is predisposed to pass judgement.

Sennott bestirs herself particularly well, her Danielle seems perpetually teetering on the brink of cracking up, but like many people of her age, Danielle’s irritable facade is her go-to defense mechanism, underneath that, her insecurity, vulnerability and strength are all in nascent form needs to be seen and nurtured.

SHIVA BABY is a quirkily energized, even frenetic (when Danielle’s anxiety level surges, her vision of reality is also pertinently warped and roasted, on the strength of Seligman’s showy technique and composer Ariel Marx’s eerie string klezmer) practice of mapping out a Jewish girl’s bisexuality (without making a fuss over it) and inquietude caused by the constraint of a suffocating family tie (the overbearing Jewish mother/the insensitively amicable Jewish father tropes are worn-out), and if you suffer from social anxiety disorder, the film’s relatability is spot-on.

Title: Shiva BabyYear: 2020Country: USA, CanadaLanguage: EnglishGenre: ComedyDirector/Screenwriter: Emma SeligmanMusic: Ariel MarxCinematography: Maria RuscheEditing: Hanna A. ParkCast:Rachel SennottMolly GordonPolly DraperDanny DeferrariFred MelamedDianna AgronGlynis BellJackie HoffmanVivien LandauSondra JamesCilda ShaurRating: 7.5/10