Babyteeth | Little White Lies

Baby­teeth

13 Aug 2020 / Released: 14 Aug 2020

A man and woman sitting on a rocky beach, embracing each other. The woman wears a sun hat and the man has a casual shirt. The ocean and sky are visible in the background.
A man and woman sitting on a rocky beach, embracing each other. The woman wears a sun hat and the man has a casual shirt. The ocean and sky are visible in the background.
3

Anticipation.

Not another teen cancer movie...

4

Enjoyment.

Earns its emotional crescendo, and features a quartet of remarkable performances.

4

In Retrospect.

The best kind of surprise – a debut feature with bite.

A young can­cer patient falls for a local hus­tler in this strik­ing debut from Aus­tralian direc­tor Shan­non Murphy.

Ever since Ali McGraw died in Love Sto­ry, there’s been a steady slew of films about ter­mi­nal­ly ill young women who expe­ri­ence a trans­for­ma­tive romance before their inevitable demise. A Walk To Remem­ber, Now is Good, Rest­less, Me and Earl and the Dying Girl – they may take dif­fer­ent guis­es, but the results are always sim­i­lar: sick girl meets boy, girl teach­es boy valu­able les­son about himself.

Of course, women exist­ing as a tool to male bet­ter­ment is noth­ing new in Hol­ly­wood, but even a twist on the for­mu­la, such as in teen weepy The Fault in Our Stars (the boy dies!) still man­ages to reduce the com­plex­i­ty of fac­ing your own mor­tal­i­ty when you’ve only just become aware of it to a roman­tic narrative.

What a breath of fresh air, then, Shan­non Mur­phys debut fea­ture is. It stars Eliza Scanlen as Mil­la Fin­lay, a 16-year-old can­cer patient who (yep, you guessed it) devel­ops an infat­u­a­tion with a local né’er-do-well after they meet on a train plat­form on her way home from school. Based on Rita Kalne­jais’ play of the same name, it’s an effer­ves­cent com­ing-of-age sto­ry that man­ages to be hon­est, imp­ish and com­plete­ly dev­as­tat­ing in a sin­gle breath.

Mil­la knows from the off that Moses (Toby Wal­lace) is bad news. He’s got a rat tail, face tat­toos and a shirt unbut­toned to his naval. Intrigued, she invites him home for din­ner, where her par­ents Anna and Hen­ry (Essie Davis and Ben Mendel­sohn) are bemused, but begrudg­ing­ly accept­ing of his pres­ence. It helps, by her own admis­sion, that Anna is high through­out the meal, while Hen­ry – a ther­a­pist – real­ly just wants to see his daugh­ter hap­py, regard­less of how inap­pro­pri­ate her blos­som­ing rela­tion­ship with Moses might be.

Young person in orange floral dress sits by turquoise pool, looking pensive.

Through a series of chap­ters, we get to know Mil­la, wit­ness­ing her cre­ativ­i­ty dur­ing vio­lin prac­tice with an eccen­tric teacher and empathis­ing with her strug­gling to fit in at school, giv­en how wild­ly dif­fer­ent her con­cerns are to those of the girls around her. Moses offers her respite, but also dan­ger; a chance to expe­ri­ence life way beyond her com­fort zone, be it break­ing into his mother’s house or sneak­ing out to a late night party.

They don’t talk much, in con­trast from oth­er films, where teenagers speak with the rue­ful elo­quence of much old­er souls – Mil­la and Moses are delight­ful­ly brash, awk­ward, and imma­ture, as are Anna and Hen­ry, who have pre­pared for every even­tu­al­i­ty oth­er than their daugh­ter falling in love.

Tak­ing visu­al cues from Ter­rance Malick’s Bad­lands and the teenage dreams of Sofia Cop­po­la, Mur­phy presents a sun-drenched vision of Milla’s world, nev­er con­de­scend­ing but instead invit­ing audi­ences into her mind. Every imper­fec­tion, every reck­less deci­sion, high­lights the fragili­ty and fleet­ing nature of teen­dom, made all the more poignant giv­en that Mil­la is acute­ly aware of her diag­no­sis, and remains deter­mined to live on her terms all the same.

While Wal­lace makes a delight­ful­ly objec­tion­able love inter­est, the film belongs to Scanlen, Davis and Mendel­sohn, a com­plex fam­i­ly unit with remark­able chem­istry. A late scene, in which they vis­it the beach togeth­er and con­tem­plate their sit­u­a­tion, earns its emo­tion­al evo­ca­tion, as noth­ing about Baby­teeth feels manip­u­la­tive or trite.

Films about teenagers – par­tic­u­lar­ly teenage girls – so often feel too pol­ished or self-con­scious, but there’s a raw, kinet­ic ener­gy about Baby­teeth which helps it side­step the pit­falls of the genre. A tru­ly impres­sive debut from a film­mak­er we will undoubt­ed­ly be see­ing much more of, it’s per­fect view­ing for these hot, uncom­fort­able sum­mer nights, but just make sure you’ve got your Kleenex at the ready.

You might like

Accessibility Settings

Text

Applies the Open Dyslexic font, designed to improve readability for individuals with dyslexia.

Applies a more readable font throughout the website, improving readability.

Underlines links throughout the website, making them easier to distinguish.

Adjusts the font size for improved readability.

Visuals

Reduces animations and disables autoplaying videos across the website, reducing distractions and improving focus.

Reduces the colour saturation throughout the website to create a more soothing visual experience.

Increases the contrast of elements on the website, making text and interface elements easier to distinguish.