Trying to get pregnant? Make sure you know the bottom line on baby-making—what you don't understand can affect your bub-to-be's health.
Read more »
Babies (Focus Features) is a breathtakingly lush film that follows four babies from birth until they take their first steps at their homes in Namibia, Mongolia, Tokyo and San Francisco. There are no subtitles or real dialogue; in fact, the movie is not about adult interaction with these children—it’s about observance. Shot almost like a wildlife documentary, it features long, low, still and mostly silent stretches during which we just watch the babies go about their days.
“It’s the most simple film you can imagine, and it questions your relationship with your own children,” says director Thomas Balmès, a father of three. While the cultural differences—feeding, cleaning, learning and safety—are vast, Balmès’ goal was not to judge or emphasize those contrasts. “I was struck by how inventive all the mothers are,” he says. For instance, water is scarce in the Mongolian yurt where a baby named Bayarjargal lives with his family, so his mother washes his face with breast milk.
“The message, to me,” says Balmès, “is that as long as there is love, babies actually need very little.” Despite the unseen presence of a cameraperson, some scenes may make you rise out of your seat (such as the one where Bayarjargal crawls around while cattle step delicately over him,). “Yes, there were times when I got really scared and wanted to jump in,” Balmès says. “But we didn’t; and what I realized is how much we Western parents ‘do’ for our kids. They don’t really need it, and they learn so much from getting bored and having to fill that emptiness themselves.”—Peg Moline
Babies opens nationwide May 7th.
Interview with Thomas Balmès, director of Babies (Focus Features)
Fit Pregnancy: First of all, what a beautiful movie! It was so delicious, I couldn’t take my eyes off the screen. What was your goal with this move?
Thomas Balmès: Well this is something interesting: I’ve done about 10 films and I’ve learned not to be so into the goal, but instead open to the process. I trust that the process will bring me somewhere, and I’m usually not sure where. That’s an attitude I have as a director, feeling the love of a situation and letting the reality lead me.
The miracle of Babies is the simplicity of the subject, but the film ends up telling us—and especially me—many things about ourselves. It’s a very simple film, really, I think it’s the most simple film you can imagine, but you look it and, to me, it questions your own relationship with your children. I am hoping that the result helps me with my kids. It certainly caused me to watch myself and others and see what is the good and the bad and how we should be behaving with our children.
The goal was not to judge or emphasize differences, but what’s remarkable is you see the cultural differences very clearly. I was struck most by the inventiveness of the mothers: One woman [the Mongolian mother] washed her baby’s face with her breast milk, and in Namibia, where there is very little accessible water, the mothers use a paste for cleaning. The kids don’t seem to suffer. It’s a big lesson, you are shown different environments and ways of growing up, and in the end everyone is trying to do their best for their child, there is not a better way than another.
The message is that as long as there is love children thrive.
FP: The trailers for Babies have been everywhere; I’ve heard it described as a wildlife film about humans. How would you describe your movie to someone who hasn’t seen a preview of it?
TB: I would describe it first as a look at an infant entering the world, then everything that baby experiences in the first months of life: the first thing they touch, eat, see, hear. It’s a collection of first moments, and following the babies 18 months in four different environments. We tried to be there for those moments that every parent observes, and we also tried to make these common moments thematic as well as dramatic. For instance, every parent has seen when their child is facing himself in the mirror but rarely has seen that on a big screen.
The confrontation of the universality of these moments, I think, creates something else—maybe a message of joy and hope in difficult times, in a very primary manner.