After losing his job for drunkenly sexually harassing a female journalist, middle-aged Cédric and his younger brother Jean-Michel plan a bizarre project to “cure” their misogyny. The plan is to write and publish a novelesque apology letter to all women in the world, including Cédric’s victim. Sick of this indulgent show of self-reflection, Cédric’s girlfriend Nadine leaves her child with a babysitter and moves into a motel near her home. The babysitter, Amy, is called out within this context. She has collected random sexual fetishes and is positioned to test the brothers by encouraging the misogynistic impulses they are trying to correct. Far from being instructive, the world of Babysitter unfolds as almost a ridiculous screwball sex comedy. While reminiscent of the Technicolor splendor of the 1960s and 1970s, or even the kitsch tone and mood of French films of the 1990s, the film combines lens distortion, extreme zoom shots, and dreamlike artistic scenes to present a bizarre satire in nearly every frame. Babysitter may not provide a sharp reflection of feminist backlash and the MeToo movement of the modern era but is comparable to its radical spirit. Still, as an ambitious fantasy fairy tale, it is clear that it provides an adrenaline rush that many socialist dramas cannot. [KIM Somi]