An intelligent mischievous creative child (Noah Wiseman as Samuel) has trouble fitting in with his Grade 1 class, notably because a demon terrorizes him throughout the night, known only to him and his mother, as the malevolent Babadook.
His mother (Essie Davis as Amelia) finds it odd that he continues to create elaborate contraptions to defend them against what she considers to be a disconcerting obsession, and can't open her mind to the truth of his dementia, until the Babadook menacingly appears.
It's a disorienting look at the ravages of exclusion.
Amelia can't get over the death of her husband who died on the night she gave birth to her son.
As she has understandable trouble reintegrating, her son's social difficulties exasperate their isolation.
She's older and has built up a thicker layer of psychological feints to conceal her overwhelming grief.
But as the manifestation of their loneliness closes in, threatening their sanity, a new defensive system must be hybridized.
If they can't find recourse to sociological restructuring, the Babadook is free to conquer.
Directer Jennifer Kent creates a haunting atmosphere of ostracized tension within, which works well considering her budgetary constraints.
Patient piecemeal manic hysteria quietly descends, facing bravery and insolence as it seeks leverage.
With additional resources, there's no telling what the sequel may unleash.
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