Babyteeth (2020)

Stories of adolescence are some of the hardest to tell on screen in new and interesting ways, and the added complexities of terminal illness and a morally questionable teen romance that 'Babyteeth' adds to this makes the film feel like a miracle in how well it pulls almost every element off. Its cast and crew are at the top of their game, resulting in a film that's just as heartbreaking as any other teen cancer film, but elevated through a humour and cynicism, as well as incredible performances, assuring it won't be forgotten any time soon.
- Ashley Teresa

Read Ashley's full article...
https://www.maketheswitch.com.au/article/review-babyteeth-a-frustrating-but-funny-australian-teen-dramedy

Her parents (Ben Mendelssohn and Essie Davis) aren’t best pleased when their terminally ill daughter “Milla” (Eliza Scanlen) hooks up with deadbeat “Moses” (Toby Wallace). She is smitten with this older lad, but their concerns would seem to be borne out when he is caught trying to steal from this family’s extensive supply of prescription medication. Pretty swiftly, though, they realise that her routine life of medication and mollycoddling isn’t helping anyone’s mental health, so her psychiatrist dad invites “Moses” to move in with them and he agrees to prescribe as required to suit. Mum is also no stranger to anti-depressant and calming doses and so with everyone treading on psychological and chemical eggshells, this drama plays out with a certain inevitability, but in a characterful and sometimes quite poignant fashion. There’s a lot of hand-held photography and that contributes to a personal intensity as the characters try to live their lives whilst “Milla” begins her course of chemotherapy whilst “Moses” tests the faith of just about everyone, including himself! There are a few welcome distractions from the principal storyline. Mum is a musician and “Milla” has has been learning, with sporadic enthusiasm, the violin with family friend “Gidon” (Eugene Gilfedder) and their new neighbour across the street is constantly calling out “Henry” - dad’s name but also that of her constantly lost dog! Each character takes a different perspective to this prevailing situation and it’s that that makes this more interesting. Each position can be questionable; each position can be vindicated and each position proves to be adaptable as the only objective is really for “Milla” to find some degree of contentment. It’s also quite funny at times too. Sometimes darkly, sometimes in an almost childlike fashion and it’s not just the youngsters who have temperamental instances throughout this drama. In many ways it’s an observation, occasionally a little contrived, but mostly an engaging family story about belonging, loneliness and yep, even joy, too.