Ow. When I was going to watch this movie, I was hoping to see another kitsch speculating on the stereotype of a Jewish mother and a gay theme. That's kind of what happened. Not kitsch, but not without stamps. None of the created images has an individuality – only masks: Italian mafiosi, Italian hot guys, Jewish porn, Jewish fat people (even young Nelson’s abdomen), gay-young handsome, homophobic skins, Russian vodka adherents (episodic deviations from stereotypes are perceived as a statistical error, for example, the man who treated Nelson’s father in a gay bar). There is enough fun here, but in the absence of dramatic moments, immunity is quickly developed to an abundance of wit. Therefore, the only funny moment I remember was the scene at the mirror, where the main character of the picture - Nelson's mother - poses in front of the mirror under the impression of a girl in a graceful deflection.
Political declarations during the struggle for adoption look spontaneous (the mother remains on the position of “Whatever the child is happy, if not hanged”), and the desire for adoption by a young gay couple looks like the whim of a spoiled child. That is, the script jumps to the top, without delving into the reasons for the actions of the heroes of the film. Therefore, I have an impression of watching this picture, which in Russia everyone has been waiting for as much as 4 years, as from an hour and a half movie joke.
As for the actual Jewish theme of the film, here (once again!) the action takes place in the community of Jewish reformists, which is better integrated into the secular society compared to the communities of other trends in Judaism. But even then, Nelson's parents should have run to a rabbi first, not a secular therapist. This strangeness becomes understandable if we assume that the director himself was not able to integrate into Jewish life and at the time of the film’s creation did not know the basic concepts that accompany it.