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And always because words are important, Nanny it’s a horror but… let’s define “horror”. There are horrors with monsters and aliens, ghosts and other supernatural creatures, and there are realistic horrors with stalkers and serial killers (yes, we’re simplifying). And then there is reality, where horror is anything that makes us shiver and cry and make us want to die to stop being afraid… of death itself. In the latter sense Nanny it is pure horror, horror par excellence. His serpentine terror it forms and feeds in a dead zone that hides intolerable secrets. That secret is the intuition of something even more distressing, because it is arcane and unknown. Aisha is haunted by visions of water, she is oppressed by reflections in the mirror that show her another self. That other self is her newly awakened spirit self, suppressed but powerful, warning her of an elusive and elusive danger.
Nanny it’s a superb horror film. Jusu composes a suffocating story declined in the domestic thriller, exacerbating the absence of the object of fear, exhibited only at the end and so atrocious as to justify Aisha’s unconscious refusal to acknowledge him. Nanny it immerses the viewer in a constant and stinging, sticky discomfort, the manifestation of the protagonist’s maternal intuition bordering on the supernatural. To underline the synergistic value of the soundtrack, ethnic and suggestive; however, the lack of it is also powerful, and in some scenes the deafening silence causes the most piercing tension. Probably without the skill of Anne Diop in the role of Aisha – the whole film rests on her interpretation – Nanny it wouldn’t have had the same impact, but Jusu’s remains an impressive directorial debut, a specimen of black social horror that guarantees her to stand up to immense peers belonging to the same niche like Jordan Peele.
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