There’s a real home birth depicted in “Alia’s Birth,” but most everything else about Egyptian American writer-director Sam Abbas’ film is excessively mannered and oblique. An indie that, lacking an…
There’s a real home birth depicted in “Alia’s Birth,” but most everything else about Egyptian American writer-director Sam Abbas’ film is excessively mannered and oblique.
The finale of “Alia’s Birth” is the aforementioned childbirth, which takes place in an inflatable pool situated in the living room of a New York City apartment. The couple about to bring an infant into the world aren’t identified, nor are the two doulas tending to the expectant mother, who suffers through some labor pains and then makes the final push and bears a baby son, whose immediate silence requires some quick professional intervention.
There’s no overt clue as to why “Alia’s Birth” has shown us this highly personal event, given that its preceding action focuses on two unnamed lovers — played byand Nikohl Boosheri — whose bond fractures once Jagannathan’s protagonist opts not to join her girlfriend at an evening dance-club performance by DJ Nicole Moudaber. Or at least, it seems that’s the case, since Abbas only vaguely hints at the particulars of his scenario.
Via the sight of Jagannathan standing alone on a dark, snowy airport tarmac, and Boosheri dancing joyously at the concert alongside a young man whom she’ll later sleep with, “Alia’s Birth” suggests underlying concerns about isolation and togetherness, estrangement and engagement. Nonetheless, those notions are hazy at best, and untethered to anything approaching a plot or substantially developed characterizations.
At its mid-point, the film temporarily switches gears to deliver a narrated story about youthful menstrual ordeals that’s marked by jokey color-coded close-ups of mouths and objects. Like so much of the proceedings, the sequence is too random, fleeting and precious to make any real impact.
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