Harmony Korine’s Baby Invasion Made Me Sick

I found myself utterly captivated and simultaneously disoriented by Harmony Korine’s latest masterpiece, Baby Invasion. As someone who has navigated the tumultuous seas of first-person narratives, from the chilling handheld camerawork of The Blair Witch Project to the camera-as-you stunt in Hardcore Henry, I can confidently say that this film pushed my nausea threshold to its limits.

Initially, I found the initial 20 minutes of “Baby Invasion” outstanding. However, it continued for another 60 minutes, leaving me disoriented and needing to lean against a wall for a moment with my eyes shut after the credits rolled. Unlike other first-person films like “The Blair Witch Project” or “Hardcore Henry“, this film by Harmony Korine combines a first-person perspective with an array of visual disturbances on screen, such as icons, pop-ups, picture-in-picture, and a chat overlay, all accompanied by a constant, pulsating score from British producer Burial. There’s no spoken dialogue, but the music contains a surreal narrative about a rabbit, slowly revealed one line at a time by a female vocalist. Watching “Baby Invasion” in a theater is similar to observing someone play a video game during a rave held on a speeding truck along winding roads. Surprisingly, it’s unusual if you don’t feel queasy afterward.

Despite premiering at prestigious venues like the Venice Film Festival, it’s unlikely that many people will watch Baby Invasion in a traditional theater setting. Much like his previous film, 2023’s Aggro Dr1ft, which my colleague Bilge Ebiri found only enjoyable for five minutes, Baby Invasion may have been included due to the festival’s global exposure, lingering nostalgia from its creator, or as part of Edglrd’s provocative approach since its launch. However, I doubt it was intended for a core audience to watch it in a focused, single-screen viewing experience on a large screen. Instead, it seems designed for background play at parties (no need for playlists!) or on multiple tabs on a computer screen. It’s sensory overload, but if you try to focus on it fully, it can also become surprisingly dull.

In my critique as a movie enthusiast: The unique narrative structure of “Baby Invasion” is reminiscent of a nested series of screens – an interview within a game within reality. The story begins with a woman discussing the theft of her first-person shooter game concept, where villains with baby faces infiltrate homes, which was then leaked onto the dark web, sparking real-life imitations. This leads us into the digital world, following a masked child playing this game with friends. The main portion of the film unfolds within this game, seen through the eyes of the protagonist, Yellow, whose actions are limited to his visible hands and arms, as he selects weapons or takes pills.

In a departure from conventional cinema, Harmony Korine’s Edge of the World films might be seen as a rebellion against norms. However, there are clear links to his earlier works, such as the portrayal of outcast clans, casual criminality, and Florida as a boundary region filled with grime, stunning beauty, and immense wealth disparities. The world depicted in Baby Invasion is intriguingly dark, combining an online nihilism with an apocalyptic visual style where monstrous creatures lurk in the shadows and skies above waterfront properties. The mood leans more towards romantic disaffection than organized class anger. However, the film offers little more than atmospheric vibes, as evidenced by its meandering narrative until it reaches feature length. It seems that merchandise, such as the Duck Mobb’s horns that resemble the sold-out $1500 demon masks on the Edge of the World website, play a significant role. If Korine is betting that branding is the future of film, we may see more of this kind of work, but let’s hope it breaks free from traditional formats, despite his protests. Just remember to bring a barf bag!

2024-09-01 01:53

Harmony Korine’s Baby Invasion Made Me Sick

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