King Baby

Once upon a time, whether it was five or fifteen years ago, in the ruins of an abandoned castle atop a hill, lived a proud King and a faithful Servant. This is the opening to a cinematic fairy tale directed by Kit Redstone and Arran Shearing, which initially presents itself as an absurd comedy rich with irony and quintessential British humor. The story revolves around two men engaged in an eccentric and seemingly benign experiment where they enact a relationship of power and subordination, in surrounding that are neither a historical reenactment camp nor a theatrical workshop. Their world is defined by the repetitive nature of their costumes, props, gestures, dialogues, and daily rituals. However, it soon becomes apparent that this seemingly perfect utopia is flawed—the King yearns for a Queen. The introduction of a woman, albeit merely a wooden puppet, exposes the hidden drives, fears, and frustrations of both men, causing their carefully constructed world to crumble under the strain of real violence. As outlined by the directors, King Baby explores the dynamics of patriarchal power, hinting at the ultimate target of this unfolding violence.