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In her autobiographical documentary, a visceral minute gem, the born and bred New Yorker is searching to emotionally heal on screen. Eight years in the making and now playing in select theaters , Beba , both written and directed by Huntt, depicts a rarely seen interiority of a self-assured millennial Black Latina, who wants to creatively survive in New York and break the cycle of generational trauma. Shot on 16mm and made with a mostly all-women crew, Huntt lays bare all that she must contend with—her Dominican and Venezuelan roots, her Afro-Latinidad, Black womanhood, sex, heartbreak, and death.
We see that in the scenes she shares with her parents. Juan recalls the fear and trauma he experienced during the bloody Dominican Civil War in , and escaping to Bed-Stuy during the late sixties.
Huntt unflinchingly narrates about her maternal grandmother spending six months in a psychiatric hospital, and how Veronica watched her own mother get hosed down. The moments between Huntt and Veronica are tense and at times combative. These are painful yet necessary scenes that drive straight to the heart of Beba and, on a larger scale, show the unintentional harm non-Black Latinxs can sometimes perpetuate to their Black family members.
Huntt paints a brutally honest portrait of her upbringing, a family of five living in a crowded, rent-controlled, one-bedroom apartment on Central Park West. Huntt shared the bedroom with her two older siblings—artsy, first-gen, millennial Afro-Latine kids — but at times it became contentious. Huntt is handed her first joint at age ten, a peace offering from her sister Raquel, who choked her. Huntt and her brother Juan Carlos would sit in the dark to analyze Jay-Z lyrics because he loves metaphors and wordplay.