Rating:  

Canal+, Chez Wam, Studio Canal and Focus Features.

For starters, you have to be adverse to babies in general to not at least be amused by this film. Balmes clearly gained the trust of the families about to birth these new babies, because he has been granted amazing access into the lives of these families and their newborns. Make no mistake, this is no “reality series” for the cinema. We have no narration, no real plot, and only ambient dialogue to pace the movie along. We get babies, up close and personal, playing, learning, developing, and eventually walking and saying their first words.

Having Balmes give you just carefully edited footage is a strength and at times, a detriment to the film. Always intriguing to watch, there are moments where Balmes seems to have instructed his editor to cut too quickly, compromising the context. A scene where Bayar, the Mongolian boy, is sitting in a stroller and gets pushed out into a field of cows and left by his slightly older brother is amusing and humorous – but only for the moment. Scenes such as these and Hattie’s unfortunate spill at a public playground, for example, have no frame of reference. The film cuts too often at times to make any connections to let what’s occurring register; a problem perhaps related directly to the film’s 79 minute running time.

However, I acknowledge that I am being perhaps a bit too nitpicky.

There is some fascinating footage here. The dichotomy in how the babies are raised is striking. In one thought-provoking moment, Hattie (San Francisco) is having “tummy time” while her mother is speaking with a pediatrician about concerns related to SIDS. As Hattie is peaceful and bundled in a cute outfit, trying to play with a toy, we find Ponijao (Namibia) also on his tummy, in the dirt, naked, biting on a rock. The beauty in the transition lies in the footage not being critical of one family or the other, or one culture or the other, but rather the deeper psychological component prevalent in differing societies. Is SIDS a concern to the Namibian family? Or the Mongolian family? Would the Japanese family ever let Mari outside to play with and eat and taste dirt and rocks?

And through it all, the babies show amazing development. The first to walk and talk on screen might surprise you, and the universal word for “Mama” rings loud and clear throughout any culture I am pleased to report.

“Babies” is short, sweet, and delivers plenty of “Oohs” and “Aahs”. That it only slightly scratches the surface of potentially deeper topics is perhaps a worthy criticism; but I would argue a faulty one.

One critic recently wrote, “human beings are hardwired to love babies.” I will acknowledge being surprised at some of the vitriolic response I have read from other critics who have wrote about the film. The film is simple, perhaps even slight, but it never sets out to be a deep, psychological investigative piece. A fact that I found refreshing, I readily admit.

Is it amazing? Sure, in its own way. Is it memorable? Well, that depends on your bias going in. “Babies” is entertaining and unique and succeeds in being upfront about its intent. Now honestly…how many films nowadays can truly say that?

Should I See It?

YES

The subject matter interests you and you love babies.

There are some intriguing segueways and comparisons which serve to be rather fascinating. The environments of these four babies could not be more different and yet, there are so remarkably similar.

The film is focused heavily on mother/child interaction and the bond between mother and child is always an amazing thing to behold.

NO

For some, this film will feel like watching 79 minutes of America’s Funniest Baby Videos, as there is no narration and no plot – just footage.

Those concerned with their children seeing maternal and infant nudity should be warned that although tastefully presented at all times, the film has a great deal of these moments throughout the film.

Some will find this film unnecessary and pointless and feel that babysitting an infant will serve much the same experience.