‘Baby’ Breaks Boundaries: Gritty Brazilian Queer Drama Shines Light on Survival and Found Family

“Baby,” the latest film from acclaimed Brazilian director Marcelo Caetano, has emerged as a standout on the international LGBTQ+ film circuit, earning praise for its raw depiction of queer survival and the search for belonging in São Paulo's unforgiving urban landscape. The film, which recently premiered to acclaim at the Cannes Film Festival and garnered multiple awards at the Rio de Janeiro International Film Festival, is being hailed as both a poignant coming-of-age story and a vital social commentary on the realities facing LGBTQ+ youth in Brazil today .

At the heart of “Baby” is Wellington, an 18-year-old queer teen played by João Pedro Mariano in a breakout performance. Released from a juvenile detention center, Wellington discovers that his parents have moved away without leaving him any information, effectively abandoning him to the streets of São Paulo. This stark reality propels Wellington into a journey of survival, where each choice is fraught with danger, vulnerability, and the possibility of hope .

The film offers a powerful indictment of familial rejection—a theme all too common in LGBTQ+ narratives worldwide. “They ran away from me,” Wellington tells an older hustler, Ronaldo, in a line that encapsulates the pain of being cast out by one’s own family. Through Wellington’s eyes, the film explores the precariousness of life on the margins, where state-run shelters can feel as confining as the detention center he just left, and the streets offer both danger and the possibility of connection .

Central to the narrative is Wellington’s relationship with Ronaldo, a seasoned sex worker portrayed by Ricardo Teodoro. Their bond oscillates between protection and exploitation, tenderness and jealousy, reflecting the complicated dynamics that can arise between queer people navigating systems of oppression and limited opportunity .

Wellington also finds solace—albeit inconsistently—in an underground ballroom house, a chosen family of queer youth of color, many of whom have also been displaced by their birth families. These scenes, filled with vibrant voguing and communal support, are a testament to the resilience and creativity of Brazil’s LGBTQ+ communities. However, the film refuses to romanticize these spaces, showing that even within chosen families, acceptance is not always guaranteed .

Critics have lauded Caetano’s direction for its lyricism and visual inventiveness, with the city of São Paulo portrayed as a living, breathing character in its own right. The cinematography, marked by recurring motifs of red, orange, and yellow, draws inspiration from filmmakers such as Wong Kar-wai and Jacques Demy, creating a lush yet gritty backdrop for Wellington’s journey .

Beyond its artistry, “Baby” is significant for its unvarnished depiction of the intersecting challenges facing queer, Black, and poor youth in Brazil. The film addresses issues of homophobia, classism, and generational trauma, presenting a society in which power often comes intertwined with abuse and marginalization. Notably, “Baby” resists neat resolutions, instead embracing the ambiguity and complexity of queer life on the fringes .

“Baby” has received critical acclaim for its “tenderhearted and quietly affirmative” approach, winning accolades including the Louis Roederer Foundation Rising Star Award at Cannes and multiple honors at the Rio de Janeiro International Film Festival . Reviewers have highlighted the film’s ability to balance gritty realism with moments of genuine warmth and hope.

Despite some critiques that the film’s pacing can feel uneven or that its central character remains somewhat enigmatic, “Baby” stands out as a vital addition to the canon of queer cinema. It is a work that refuses to flinch from the realities of LGBTQ+ life in Brazil, while also celebrating the enduring power of love, resilience, and community .

For international audiences, “Baby” offers a rare and necessary window into the lives of queer youth in Brazil, a country where anti-LGBTQ+ violence remains a grave concern . By centering the experiences of those most vulnerable, the film challenges viewers to consider the urgent need for both policy change and cultural acceptance.

As “Baby” continues its international festival run and prepares for broader release, its impact on audiences—and on the discourse around queer visibility and representation—promises to be profound. For many, it will serve not only as a work of art, but as a rallying cry for solidarity, empathy, and action.