None of the men in “Daddy” (2024) should be fathers. Directed by UMich alumn Neal Kelley and Jono Sherman, “Daddy” follows four men through a dystopian world where men must prove that they are suited for fatherhood. It introspects into masculinity, fatherhood, and all that comes with it.
The film opens in a blank, white room. Jeremy is being questioned by a monotone Echo Dot, meant to determine his train of thought and readiness to become a father. Jeremy passes the test and is invited to an exclusive mountain resort, where he will live with three other men, four in total. They are told that there will be a monitor, who will somehow determine their worthiness for fathering a child.
“What a man is has become very fractured,” said director Jono Sherman, and this film aims to put its pieces back together.
Made in the throes of COVID, the film is meant to focus on how a dystopian world would impact people and their behaviors. The four main characters, Jeremy (Jono Sherman), Andrew (Neal Kelley), Mo (Pomme Koch), and Sebastian (Yuriy Savadarov) try to work with of each other throughout the film to pass the monitor’s test of fatherhood. Despite working towards a common goal, there is an air of unease —- none of them can truly trust each other. The film sheds light on the many faces of masculinity through the lens of the four vastly different men.
The film takes a look at the different aspects of masculinity, Jeremy being characterized as immature, Andrew being grounded in faith, Mo being the least interested in anything related to fatherhood, and Sebastian exemplifying traditional masculinity, being consistently on the offense and rejecting anything remotely touchy-feely. The dynamics of these men are objectively unhealthy due to the exaggerated characteristics they have. Despite their differences, they all share a common thread of toxic masculinity. The different manifestations of this trait bounce off of each other push the story forward, building tension as they march towards an inevitable downfall. This tension reaches its peak at the very end, allowing for a satisfying release despite the ending being open-ended.
Masculinity does not exist in a vacuum, though; the interaction of the masculine and feminine is inevitable. Ally, the only female character in the film, serves as a look into the outside world, as well as how femininity interacts with these stereotypical masculine traits. The men are overly suspicious of her, treating her as a threat throughout her time in the film. They initially entrap and meet her plea for help with violence, and soon after begin to act as her savior. This interaction, while minimal, is a standout part of the film as it further characterizes the men and gives us a small glimpse of the dystopian world these characters live in.
Along with the engaging story, the film is visually stunning. The energy of the claustrophobia during COVID is present throughout the duration of the movie through a hazy, warm vignette that frames every scene of the film. Many of the film’s shots are akin to paintings, especially those featuring the main four characters, making the audience feel almost isolated in their viewing; editing is stark, jumping from cut to cut, emphasizing the simplicity of the film.
“Daddy” is truly a one of a kind film. A spectacular insight into masculinity and all the connotations that come with it, and what it means to “be a man,” “Daddy” is completely worth seeing. “Daddy” is yet to hit streaming services, but you can pre-order the DVD on Amazon.
