Baby Review: A Sharp Depiction of Queer Brazilian Hustlers Adrift in the Established Order
Capturing the metropolitan unease and dynamic spirit of São Paulo, Marcelo Caetano’s bracing drama zooms in on those who exist on the margins of an perpetually shifting metropolis. Fresh out of juvenile prison, 18-year-old Wellington (João Pedro Mariano) finds himself at a crossroads; left behind by his parents, the impressionable young man seeks comfort in the arms of others.
On an evening out with his lively group of gay and non-binary friends, Wellington crosses paths with Ronaldo (actor Ricardo Teodoro), a strapping, magnetic hustler significantly older than his age. Shrouded in the flickering glow of a neon-lit porn cinema, their first meeting is sensuous and erotic, with an hint of risk. Ronaldo swiftly initiates Wellington to the underground scene of the sex trade and narcotics trafficking.
A Portrait of Empathy Instead of Exploitation
Caetano depicts Wellington’s new life of crime with tender empathy instead of as a melodramatic morality play. Now using the alias Baby, he engages in his paid liaisons with brash fearlessness and endearing innocence. To his clients, Wellington lends not only his youth and his body, but also instances of tenderness.
In the hectic energy of São Paulo, teeming with bustling alleyways and colourful shopfronts, there’s a deep-seated solitude, as adrift individuals hold fast to one another for momentary bliss.
"The urban landscape might be fraught with peril, yet they are where they can find their own family, too."
A Complex Relationship of Affection and Power
Ronaldo is both a lover and a sheltering paternal presence to Wellington, but their relationship is derailed by envy and financial instability. Intimidation from nefarious characters in the shadow economy pale in comparison to the fear of state surveillance and incarceration, epitomized by the looming presence of police officers making their rounds.
Baby is especially potent as a keen observation of the disenfranchised individuals who have been failed by the established structure. The film ultimately serves as a moving exploration into making ends meet, non-biological kinship, and the pursuit of purpose within a unforgiving urban landscape.
