We only know her as Baby, and she does do baby, damsel in distress. She also does femme fatale. She does abuse survivor, war survivor, class survivor. She does tease and faithful friend. His friend.
iMDB calls him Ogre, Franzen called him Fiend, the movie really calls him the Dragon. That’s what you still call serial killers and rapists.
Or is he? Baby seems to be the only one who doesn’t care whether he really is the villain who shares his likeness. She approaches, entices, ruffles him. He doesn’t seem to share her sexual tension, just need a lifeline. Does she in turn see through to his real persona, the desk-bound nothingman, hoping for an exit from squalor? Is she playing with fire?
I don’t know if her behavior makes sense, in the end. Yet she’s such an incredible presence. All her strands twining into something you wanna call Archetypal Greek Woman.
She does two songs. One might as well be Bye Bye Birdie. The other is zeibekiko as tragic choral. She goes at it like a chorus leader, like a high priestess, someone to sing of the extinguished sun.
the Budafoki amended 