The Babysitters

Shirley Lyner, a bright seventeen-year-old with college dreams, works as a babysitter to save money for school. Her job brings her into the Beltran home where she grows accustomed to the couple’s rhythms. One evening Michael, a married father, confesses that he feels trapped and unfulfilled. Shirley responds with a reckless gesture, kissing him, and he greets the moment with a surprised but pleased reaction. He rewards the moment with a sizable tip, and Shirley begins to see a way to turn this energy into extra cash. Her plan is to set up her teenage friends with other unhappy fathers, turning private weakness into opportunity. The scheme pulls Shirley into a murky space where desire, money, and ethics collide, and the consequences begin to unfold.

Directed by David Ross, The Babysitters was released in 2008. It appears to be based on an original screenplay, with Waterston delivering a poised, wary performance as Shirley Lyner, while Leguizamo brings a cautious, almost disillusioned masculinity to Michael Beltran. The film unfolds on a restrained, intimate scale that favors character dynamics over loud twists.

Reception & themes: Critics treated the film as a quiet, provocative drama that centers on power and boundary crossing. It prompts questions about consent, desire, and what counts as ethical behavior in intimate situations. Waterston and Leguizamo deliver restrained performances that underline the tension of Shirley's risky plan, while the screenplay scrutinizes the allure of money against the cost of crossing lines.

Cultural Impact: The film lingered mainly in indie circles rather than mainstream discourse, but its premise sparked discussions about age gaps, sexual ethics, and the responsibilities of caregivers in precarious situations. It is often cited as an example of late 2000s American drama that tackles uncomfortable subjects without sensationalism, and it remains a reference point for conversations on accountability and desire in modern relationships.

Box office: The movie earned 44,852 dollars worldwide in a limited release, reflecting its niche appeal rather than broad commercial success. Its modest earnings signal a film that found a small but dedicated audience in art house and festival settings.