this was specifically designed for me and i hate it but i love it.

Rooted to the bloody tissue of real life and enameled with traces of early Jane Campion, “Babyteeth” is the kind of soft-hearted tearjerker that does everything in its power to rescue beauty from pain; the kind that feels like it would lose its balance and tip right off the screen if it stopped being able to walk the line between the two. And yet, despite a handful of shaky moments and a story that sounds like a supercut of all the worst tropes in contemporary independent cinema, Shannon Murphy’s primal and surefooted debut never falls into either mawkishness or sadism. It keeps you on your toes from the moment it starts, brings together a winsome but wounded group of people who are all struggling to slay the “tiny gods” in their heads, and then forces them through an ordeal that might just break their hearts. And yours.

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The ultimate symbol of the end of innocence ...

What could look familiar unfolds as something so special and quietly spectacular. The intricacy of this story, these feelings, these people leaves an impact so big and a beauty so very deep. I love this very dearly in a lot of ways

Shannon Murphy's Babyteeth film is a major player. Loved it. Balances levity and genuine humanity with fresh filmmaking, a smart take on a young woman with cancer story. Not exactly new but the way it's presented is so compelling and all the characters are wonderfully complex.

Easily the highlight of this second half of the Venice Film Festival for me. Way better than I was expecting, with one of the best soundtracks of songs out of any film here (makes me want to dance!). Eliza Scanlen is exceptional, and Ben Mendelsohn is at his very best in a long time (really). It's an emotional film that has a heart of gold, spending more time focusing on the joys of life than the things that make us sad.

london film festival 2019: film thirteen
first time competition

as impressive as it is depressive, babyteeth blends its tones with such confidence and sophistication that it’s difficult to believe that a film can be both soul-crushing and crowd-pleasing. a neat trim would benefit it extremely well but between the tenderness found in shannon murphy’s direction and the well-dialled brilliance of the cast’s performances (eliza scanlen will absolutely win an oscar one day), this bittersweet and emotionally-arresting feature is a major triumph for everybody involved.

It really, really shouldn't work. Arguably, there are some moments towards the end that I would have appreciated a bit more build-up to. But when it does work, it fires on all cylinders.

!!!!!! I didn’t really know what I was signing up for when I went to see this at LFF but god it just blew me away. 
I’m in love with Moses- but who isn’t? 
SPOILER 
Cried my heart out more than I ever have in the cinema when Moses tried to kill her with the pillow and when she eventually died :((

Not entirely convinced that this film is not incredibly manipulative, however I will say that this is the most I have cried in the cinema for a long long time. If that’s what you need in your life right now you need look no further.

I would say the film was okay, but unfortunately the subject wasn’t treated with any originalality whatsoever.
However this projection in Sala Grande was quite special to me and I’ll treasure it in my heart till I Kani tear it apart.

Wow what a film, Ioved it!

Best film I've seen at LFF so far, 2 more to go tomorrow.

I might’ve been more emotional if I cared about any of the characters. Great acting though.

mükemmel veya çok iyi olduğunu söyleyemeyeceğim ama bence çok güzel sahneleri olan, beni ve duygularımı yakalayan, bağ hissettiğim bir film... me, earl and the dying girl'den aldığım tadı anımsattı :')

A series of arrival points rather than a drama. It doesn't start with a dilemma, rather a condition and then shows how people react around it. Crucially, at the end it makes it ambiguous whether a crime was committed. This is a film that cultivates indifference rather than emotion. Maybe that's the point: all that emotional hoo-hah is just bull. People get a condition. It can be managed for a while. Ultimately humans are emotionally ill-equipped to deal with impending death. We're too impulsive, too quick to say sorry. At its heart, the film asks the question: what are emotions for?

as sucked off and eye rolling inducing the theme of the dying-teenager-wants-to-live-her-final-coming-of-age-moment sounds, as surprisingly well thought and executed Babyteeth turns out to be. the fancy hip of a tearjerker that it is, the authentic and well-beloved its protagonists are portrayed. despite living a hysterical mess, all characters grow on you in a way only a crew of dedicated and talented filmmakers is able to craft - actors, screenplay and direction is so superb, you usually see that only every 4-5 years in american indy cinema. and this one here is even from Australia. no surprise it made the Venice competition as a debut.