Baby 2 had closed with the search for escape, with the dream of escaping, with the desire to abandon an oppressive and difficult reality to live: the second season of the Italian series produced by Netflix had started to tell us about the consequences that are generated by the choices made by the protagonists, which end up exploding in this third season.
Baby remains the first Italian teen drama made and distributed by Netflix, which has now reached its end and conclusion, exposing the discomfort and torment experienced by the students of the Liceo Collodi in Rome: a series that with its six final episodes weaves even more dense plots of a story that was taking on far worse connotations than the initial ones.
It is no longer a game
Chiara and Ludovica (Benedetta Porcaroli and Alice Pagani) continued to share their lives in two separate moments: during the day students of the Liceo Collodi, during the night baby-ring of luxury, sought after by a deep and dense circle of customers who pursue the ephemeral pleasure of a night spent with underage students. The second season had put Chiara in the condition of having to leave Damiano,
the troubled and problematic boy with whom he had started a turbulent relationship: the girl, threatened and blackmailed with photos and taped films of his activities, puts an end to the relationship with the boy, but not his double identity. If initially the problems are reflected in the love life, soon Chiara he will have to confront his parents, with all the people who live her daily life who will come to find out what the two girls really hide. The world of the protagonists in the third season is completely upset and upset, putting the families of Chiara and Ludovica to the test: while the supporting actors struggle to discover what in their hearts they are suppressing, imitating the much more successful and successful SHAME Italy, who manages to tell the adolescent problems with a more compelling and real look, the two girls also find themselves living the age-old struggle with the bureaucracy and the Italian law, which between deceptions and manipulations always ends up dancing on the tip of a pin .
At the end of the path, the reversal of roles upsets the entire narrative, reviving the concept according to which everyone is responsible for their actions and it acts following its own morality and one’s own desire.
Parent of a prostitute
The third season of Baby finds fulfillment in what they are the reactions of the parents of the two girls, who somehow have to decide to question themselves, agree to come to unhappy pacts in order to hide the truth and finally also to face the problems experienced by their respective daughters. This is because Chiara’s parents, politically exposed, find themselves having to struggle with a completely unexpected boulder that has fallen from the sky.
On the other hand, however, the situation linked to the two protagonists assumes, in some cases, unreal traits, especially towards an unlikely inspector, who in a mix between a rude policeman from the south of the United States and an unexpected older brother is perhaps a character totally out of place. In the incredible process that involves all the members is also exalted that irrational light-heartedness of Chiara and Ludovica who fantasize about their future and their life regardless of the fact that soon they could touch the reformatory and generate a butterfly effect that will involve all the supporting actors.
Baby 3, as already mentioned, she suffers a lot in the desire to tell the scenario in which the story of Chiara and Ludovica takes hold: because if the two girls live a unique and unrepeatable experience, with dramatic features, everything that revolves around them is told with the accelerator pressed towards the need to demonstrate that they are adults and emancipated. The GRAMS collective, with the addition of Antonio Le Fosse who makes his directorial debut alongside the experienced Andrea De Sica and the expert Letizia Lamartire, almost feels the need to approach Baby 3 a SHAME, as already mentioned, to underline that she is able to manage adolescent problems, between hidden loves, school quarrels and dormant loves that must break out.
In telling about homosexuality, the fear of confession, the desire to express oneself in the best possible way, Baby threatens to pepper the series of unnecessary arguments for the purposes of the story and the story dealt with, which had to focus more on the two girls involved in the case of child prostitution and nothing else. The delay that the camera often takes also on prostitutes who find themselves on the side of the streets tries to underline Ludovica’s awareness of not wanting to become, when she grows up, like one of them. The desire that emerges in the two girls to separate from that world that has involved them for two entire seasons takes off whirlwindly when we find ourselves face to face with real prostitution, the adult one.
A return to origins and awareness
Baby 3 also closes the circle with the first season, recalling the images of the first parties that involved Chiara and Ludovica, the stormy relationship with Saverio, who died between the first and second season, and the rise of Fiore, the crafty manipulator of girls who will do everything to escape the accusation of aiding and abetting female prostitution, with his cold and calculating look of a failed mafia.
Alongside him, however, there are pleasant interpretations, starting from Lorenzo Zurzolo, now more and more on the crest of the wave for the character of Niccolò and for the notoriety acquired in the post-lockdown period thanks to the covers won with his gaze by Alain Delon, to quote Rivista Studio.
The character of Thomas is almost completely gone (Thomas Trabacchi), which is revealed only at the beginning as the triggering element of the torn veil in front of the girls’ secret, the good presence of Claudia Pandolfi, as well as the characters of Fedeli and Damiano are confirmed. the presence, in the cast, of the daughter of Asia Argento and Morgan, in the role of a faithful shoulder of Damiano.
From the point of view of writing, there is no doubt that this year of running-in has helped the collective work on Baby, which compared to the second season acquires greater maturity in the rendering of the dialogues: the news is dealt with in a more credible way, despite a very naive court trial that does not even want to trace the reality of the facts, but which still manages to avoid the comfort zone effect of the previous season. What remains, however, is the absurd desire to make the whole story stand out as a fantastic memory from which one cannot separate.