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It was a great opportunity to include Molly Gordon’s character, Maya, because I wanted to have a bisexual protagonist. How did the plot change when you expanded it into a feature film? So, I thought it would be funny to combine those two. And it was just a huge part of the subculture there because of websites and apps like Seeking Arrangement. To me, that felt like any other Reform Ashkenazi setting.Īnd then I thought, “Wouldn’t it be funny if a young woman ran into her sugar daddy at a shiva?” There are a lot of sugar babies at NYU. I always found them to be contrasting and funny settings because someone just died, but it still feels like every other Jewish family function in that there is lots of complaining and bragging and asking nosy questions and, you know, crossing boundaries and talking about the details of your colonoscopy and things like that. And I had always wanted to do something at a shiva. I wanted to do a dystopian thing and my professor gave me that age-old advice: Write what you know.Īt that point, I had been away from my family for four years. Some students try to make something over-ambitious, and I originally wanted to do that. I made this first as a short film in university in my last year, and I was very lucky that that got into South by Southwest in 2018. How did you first conceptualize Shiva Baby? This interview has been condensed and edited for clarity. Here, we chat about all that went into the creation of Shiva Baby. What’s more, it already sold its distribution rights, meaning that it’s coming to a screen near you in early 2021. And it does it so well - Shiva was a slam dunk with critics upon its release at the Toronto International Film Festival in September. Somewhere between a farce and a coming-of-age tale of young womanhood, Shiva Baby bridges anxiety with comedy - a coping mechanism so inherently Jewish that I can almost picture Moses wisecracking mid-Red Sea parting. The tension, as you can imagine, is palpable. Indeed, Seligman’s debut feature film may as well be a dissertation on neurosis, as it follows Danielle (Rachel Sennot), a bisexual artist turned sugar baby, through one chaotic day at a shiva house filled with her parents, her ex-best friend and lover, Maya ( Molly Gordon), and her sugar daddy.
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“Everyone is like, ‘it’s material!’ and I am like, ‘but I already made a movie about my neurotic family!” The 25-year-old director is calling from her parents’ house, where she’s been holed up since returning from New York at the beginning of the pandemic.