In BABEL, a tragic incident involving an American couple in Morocco sparks a chain of events for four families in different countries throughout the world. Tied by circumstance but separated by continent, culture and language, each character discovers that it is family that ultimately provides solace.
In the remote sands of the Moroccan desert, a rifle shot rings out – detonating a chain of events that will link an American tourist couple’s frantic struggle to survive, two Moroccan boys involved in an accidental crime, a nanny illegally crossing into Mexico with two American children and a deaf Japanese teen rebel whose father is sought by the police in Tokyo. Separated by clashing cultures and sprawling distances, each of these four disparate groups of people are nevertheless hurtling toward a shared destiny of isolation and grief.
In the course of just a few days, they will each face the dizzying sensation of becoming profoundly lost – lost in the desert, lost to the world, lost to themselves — as they are pushed to the farthest edges of confusion and fear as well as to the very depths of connection and love.
With a title like “Babel” I was expecting this film to make its point by showing the basic connection between people even though separated by continents, cultures and languages. The filmmaker succeeded in demonstrating the separation, but I felt no connection or common ground between the characters. This film dove deep into the most raw human emotions but left the viewer there, providing no resolution. Each story had very disturbing plot points, but the story of the rebellious Japanese teenage girl borders on child pornography.
Between the graphic nudity, violence and language I found little in this film worth sharing with your family.