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I felt immediately compelled to revisit some of its genre forebears – beginning with American-Israeli filmmaker Rama Burshtein’s superb 2012 film Fill the Void ( Curzon Home Cinema), which shares with Seligman’s film a youthful female point of view and an artfully visualised sense of claustrophobia within a community, albeit to more solemn effect. Between bagels and murmured condolences, she gets her elders’ thoughts on everything from her weight (too thin) to her college major (too trivial) to her bisexuality (verboten, particularly with her sometime girlfriend also at the event).įill the Void (2012): ‘A non-critical view of arranged marriage.’ Photograph: Allstar/NORMA PRODUCTIONS/Sportsphoto Ltd./Allstar University student Danielle (comedian Rachel Sennott, in a wicked breakthrough) is the only child of a middle-class New York Jewish couple, reluctantly dragged to the shiva for a family friend she barely remembers.
There, it’s been hailed as an immediate classic of Jewish cinema, a subgenre as rich and flavourful in its sensibility as Christian faith-based films are, well, not.Ī shiva is a Jewish wake, and sure enough, Seligman’s film seeks out any number of inappropriate comic avenues to pursue at a single funereal gathering, over the course of just 77 wince-filled minutes. Emma Seligman’s Shiva Baby is a blunt, salty-sharp blast of inspired farce, arriving in the UK on a tide of cultish enthusiasm from across the Atlantic. Missed it? Don’t worry: it’s gone straight to streaming on Mubi instead.
E arlier this week, the best comedy of the year played in cinemas for a one-night-only engagement.