Nanny (2022)

Wanting to bring her son to America, a Senegalese woman becomes a nanny for a wealthy family while her mind plays horrific tricks on her.

Well-acted, but awfully problematic. It took me a few minutes to figure out what was not sitting well with Nanny. So, keep in mind that it is predominantly a drama and not a horror. Therefore, you may agree that a horrific subplot should support the dramatic plot. Well, it does that much, so the question is, does it in an appealing manner? In a way that hooks you?

Aisha is an overly relatable character, especially for those who know about migration, and Anna Diop absolutely nails her part, adding to the drama that slowly and painfully unfolds. Hence, her story starts from sad, only to end up… well, you’ll see. But the snippets of horror don’t add up as they find it difficult to place themselves in the story. The constant use of eerie music when they try to do so is their only way of infiltrating, and writer/director Nikyatu Jusu feels the need for an “in-your-face” approach. That becomes a direct contradiction because what is happening to Aisha lurks under the surface, and the filmmaking techniques meant to deliver her uneasiness subliminally couldn’t make it more obvious as if you otherwise wouldn’t get it. You would. And you will probably figure out from the very beginning what the drama is about. In psychological dramas, thrillers, and horrors, the action is divided between on and off-screen, carefully chosen by the director what is happening where. Jusu places everything on-screen, projecting confusion rather than mystery, and the plot and subplot become indistinguishable.

Jusu’s strong suit is using Diop’s incredible acting skills; consequently, she solely becomes the reason to watch it. Unfortunately, the film itself fails to decide what it wants to make you feel until the very end. Needless to say, the ending is a narratological mess that claims a “fatality” victory over the already visually wounded audience. Shame, really.

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