NANNY

Name: NANNY
Item: NANNY
Author: Gaby Gaduh

"Psychological Horror With Occultism, False Religion and Neo-Marxism"

Family Content: -4 Intentional blasphemy, evil, gross immorality, and/or worldview problems. (To be avoided)

Entertainment Quality:

	None	Light	Moderate	Heavy
Language
Violence
Sex
Nudity

Credits →

What You Need To Know:

NANNY is a psychological horror movie. Aisha is an illegal black immigrant from Senegal who’s trying to earn money to fly her young son in Africa to live with her in New York City. She gets a nanny job to take care of the young daughter of Amy, an affluent married career woman. The nanny job seems to go well, but Amy starts neglecting to pay Aisha for all the hours she works. This delays her efforts to buy her son’s plane ticket. Meanwhile, Amy starts having scary nightmares and visions related to the West African mermaid spirit goddess and to a West African trickster figure appearing as a scary spider.

NANNY is almost a four star movie. It gives an emotional and profound allegorical, psychological meaning to the nanny’s scary, supernatural nightmares and visions. However, the scary nightmares and visions have an occult, pagan aspect to them. There are many obscenities and a depicted bedroom scene with explicit nudity. Finally, NANNY has a strong Romantic worldview with a strong Neo-Marxist, politically correct, anti-capitalist, feminist subtext. Media-wise viewers will reject NANNY.

Content:

(RoRo, BB, OO, PaPa, CoCo, PCPC, ACapACap, FeFe, LL, VV, SS, NN, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong Romantic, leftist worldview slightly mitigated by positive moral elements showing that children are a blessing, and there are strong ties between women and their children, and a young adult man with his grandmother (one character says, “Thank God”), but marred by occult, pagan references and mystical encounters (some of which are allegorical/metaphorical) to a West African mermaid goddess and a trickster spirit who haunt the title character and who wind up giving the title character messages of warning and future hope, and marred by a Neo-Marxist, woke, politically correct, anti-capitalist, feminist, anti-masculine subtext trying to show how “capitalist imperialism,” “toxic” individualism and “patriarchy,” including the idea of the American Dream, oppress parent and child alike and rich and poor alike, but especially black women in the workforce

Foul Language:

Three “f” words, five “s” words, one “dumba**,” and two OMGs

Violence:

Scary nightmares and visions include visions and nightmares of being pulled underwater, being drenched by water, a big scary spider, a smaller spider that seems to enter woman’s mouth while she’s sleeping, a snake in a bed, young girl sweeps food off the table and onto the floor, and characters learn that another character has died (there’s emotional trauma with that death), but there’s good news at the end

Sex:

Depicted fornication between unmarried couple, and married man whose wife employs the title character tries to kiss the nanny, but she bites his lip, and he offers an awkward apology

Nudity:

Upper female nudity and upper male nudity in fornication scene

Alcohol Use:

Brief alcohol use

Smoking and/or Drug Use and Abuse:

No smoking or drugs; and,

Miscellaneous Immorality:

Affluent married career woman neglects to pay her nanny what she owes her, and this results in a traumatic tragedy occurring.

More Detail:

NANNY is a psychological horror movie about a black female immigrant from Senegal, with a young son still in Africa, who becomes a nanny to an affluent, married career woman in New York City and who has scary, realistic nightmares that seem to be created by a mystical mermaid creature and goddess from her native West African culture. NANNY is almost a four star movie that gives an emotional and even profound allegorical, psychological meaning to the nanny’s scary, supernatural nightmares and visions, but the scary nightmares and visions have an occult, pagan aspect to them, and the movie has many obscenities, a politically correct, Neo-Marxist, anti-capitalist subtext, and a bedroom scene with nudity.

Aisha is an illegal immigrant from Senegal in New York who’s trying to earn enough money to bring her young son, Lamine, into the country. She takes a nanny job with Amy, an affluent career woman who has a young daughter named Rose. Aisha and Rose hit it off, but Rose’s mother is overprotective of her daughter’s eating habits. To protect Rose from allergies, Amy keeps Rose on a strict diet. No wonder, then, that Rose has become a picky eater. Aisha secretly gets around that problem by letting Rose eat some of the spicy African dishes she fixes for her lunch.

Making matters worse, Amy becomes stressed at work trying to compete with the “old boys’ club.” Amy starts asking Aisha to do more overtime hours, but she’s lax about paying Aisha for all her extra work. This delays Aisha’s efforts to get the money so her son can fly to New York.

Amy’s husband, Adam, a traveling photojournalist, finally returns home from a trip. After getting to know him better, Aisha starts telling him about Amy’s neglect in paying Aisha what she owes her. The problem is, Amy is the bigger breadwinner, and Adam can only give Aisha part of what Amy owes.

Meanwhile, Aisha starts having scary nightmares and visions related to the West African mermaid spirit or goddess, Mami Wata. In one of the dreams, Aisha thinks her bedroom is being filled with water. In another, the mermaid goddess is trying to drown her. Aisha also has a vision of a West African trickster spirit called Anansi, who appears as a large creepy spider and who figures in many West African fairy tales and myths.

At the same time, Aisha starts dating Malik, a black security guard in Amy and Adam’s building. It isn’t long before Malik introduces Aisha to his grandmother.

NANNY is almost a four star movie. It gives an emotional and even profound allegorical, psychological meaning to the nanny’s scary, supernatural nightmares and visions. However, the scary nightmares and visions have an occult, pagan aspect to them. There are also many obscenities and a depicted bedroom scene with explicit nudity. Finally, NANNY has a Romantic, Neo-Marxist, politically correct subtext. The movie’s Neo-Marxist, anti-capitalist, feminist subtext, as described by the writer/director tries to show how “capitalist imperialism,” “toxic” individualism and “patriarchy,” including the idea of the American Dream, oppress parent and child alike, and rich and poor alike, but especially black women and immigrants in the workforce.

Media-wise, informed, discerning viewers will want to reject the occult paganism and communist subtext in NANNY.