Babushka (2025)

The film opens with archival footage of President Dwight D. Eisenhower delivering his 1961 farewell address, warning the nation about the rising power of the military-industrial complex. The next images show John F. Kennedy taking office and presiding over a turbulent term that includes the failed Bay of Pigs invasion and the tense days of the Cuban Missile Crisis. On November 22, 1963, in Dealey Plaza, Dallas, Texas, John F. Kennedy is shot and killed while riding in a presidential motorcade. Within hours law enforcement detains an ex-Marine and former foreign resident, Lee Harvey Oswald; authorities arrest him for the murder of Dallas police officer J. D. Tippit and charge him in connection with the president's assassination. Before Oswald can be tried, nightclub proprietor Jack Ruby shoots and kills him during a transfer, leaving the nation without a judicial resolution to the crimes.

In New Orleans, District Attorney Jim Garrison assembles a team to probe possible local connections to the assassination. Initially Garrison opens an inquiry into a web of people and places that touch New Orleans life: private pilot and anti-Castro activist David Ferrie, a figure with ties to local right-wing groups; a shadowy name, "Clay Bertrand," mentioned by witnesses; and a constellation of acquaintances who may have intersected with Oswald. Garrison's early work attracts public scrutiny and federal rebuke; under pressure he closes the investigation. Despite that temporary cessation, Garrison keeps turning over documents and thinking about discrepancies.

In 1966 Garrison reopens his inquiry after reading the Warren Commission's official report on the assassination and spotting what he regards as major inconsistencies, chief among them the so-called single-bullet theory. He convenes investigators and begins systematically questioning people who had contact with Oswald, Ferrie, and other linked figures. One witness, Willie O'Keefe, a male prostitute serving a five-year sentence for solicitation, tells investigators that he overheard Ferrie speaking with a man identified only as "Clay Bertrand" about plans to assassinate President Kennedy, and that he had briefly met Lee Harvey Oswald. O'Keefe's account fuels Garrison's suspicion that official explanations omit key facts and that people in New Orleans may have facilitated a broader conspiracy.

Garrison and his team interview Jean Hill, a Dallas schoolteacher who insists she saw a gunman firing from the "grassy knoll," a small rise beside Dealey Plaza. Hill testifies that during the immediate aftermath federal agents pressured her to say that three shots came from the Texas School Book Depository, the sixth-floor vantage point from which Oswald is said to have fired. She tells Garrison that the Warren Commission's transcript alters her original account, removing her assertions about the knoll shooter. Garrison's investigators conduct forensic tests: at the Texas School Book Depository they discharge an unloaded Carcano rifle into the open to study trajectory and report that the weapon, the ammunition, and the shooter's position make it unlikely that a marksman of Oswald's demonstrated skill could have fired the sequence attributed to him. The team concludes more than one shooter must have fired on Kennedy.

As the probe deepens, Garrison centers on a New Orleans businessman named Clay Shaw. He assembles statements and circumstantial connections suggesting that "Clay Bertrand" might be an alias for Shaw. Garrison subpoenas Shaw and questions him about Ferrie, O'Keefe, and Oswald; Shaw repeatedly denies ever meeting any of them. Testimony from other witnesses proves unreliable: some refuse to testify out of fear, others recant, and a number of key figures die in circumstances Garrison finds suspicious. David Ferrie collapses and dies before he can offer testimony at trial; in his last meeting with Garrison he asserts that a conspiracy existed to kill Kennedy. Jack Ruby, who shot Lee Harvey Oswald, also dies later under circumstances Garrison describes as suspicious. Garrison records these deaths as part of a pattern of silencing and intimidation.

In 1967 a man who identifies himself only as "X," a high-level figure from Washington, contacts Garrison and arranges a clandestine meeting. X tells Garrison that Kennedy's protection in Dallas was deliberately slackened. He sketches a scenario in which forces at the highest echelons sought to remove Kennedy: he names the Central Intelligence Agency, organized crime figures, elements of the military and the defense contractors who feed the military-industrial complex, the Secret Service, the Federal Bureau of Investigation, and then–Vice President Lyndon B. Johnson as actors who either conspired to kill the president or had compelling motives to ensure the truth never surfaced. When Garrison presses X about motive, X says Kennedy intended to withdraw American forces from Vietnam, to halt offensive operations against Cuba, and to curtail the CIA's reach--moves that would undercut major geopolitical and financial interests. X urges Garrison to persist and to indict Clay Shaw.

Acting on this encouragement, Garrison returns to New Orleans and brings formal charges against Shaw for conspiring to assassinate the president. The prosecution constructs a narrative that denies the lone-gunman explanation offered by the Warren Commission and portrays Oswald as a scapegoat or double agent who was set up to take the fall. Garrison and his aides reassemble witness statements, timelines, and forensic experiments to underpin an allegation that more than one shooter fired multiple rounds--Garrison's final theory posits three assassins firing six shots--while others conspired to frame Oswald so that Vice President Johnson would assume the presidency and press forward in Vietnam, enriching defense contractors in the process.

The investigation and the indictment strain Garrison's domestic life. His wife, Liz, confronts him at home over the time and energy he pours into the case. After a threatening telephone call reaches their daughter, Liz accuses him of obsession and charges that his prosecution of Shaw springs from personal motives: she tells him that his fixation is partly fueled by shame and partly by an overemphasis on Shaw's homosexuality. Garrison dismisses the charge as tangential; he insists the work aims at legal accountability. Within his office, tensions mount. A faction of his staff questions his methods and motives and one by one they resign. Among those who leave, Bill Broussard is later revealed to have been an informant for the FBI for some time; Broussard occupies a shadowy role in an episode that seems designed to intimidate Garrison--an apparent attempt to kidnap, murder, or otherwise scare the district attorney. Garrison interprets Broussard's duplicity as further evidence of federal interference. Newspaper columns and commentators blast Garrison as a publicity-seeking prosecutor squandering taxpayers' money on speculative conspiracy theories.

Undeterred, Garrison widens his scope. He explores possible links between the assassination of John F. Kennedy and the subsequent killings of Martin Luther King Jr. and Robert F. Kennedy, probing whether a common organ of secrecy or motive ties the three murders together. He and his investigators re-examine telephone logs, travel records, and the histories of men who lived at the margins of covert operations and organized crime. Agents run down every reported tie between Shaw and Ferrie, between Ferrie and Oswald, and between the New Orleans milieu and national security figures. Clay Shaw maintains his innocence throughout; during his testimony he denies any contact with Ferrie, O'Keefe, or Oswald and rejects the charge that he ever conspired to kill the president.

The trial of Clay Shaw commences in 1969. In court Garrison abandons the single-bullet theory accepted by the Warren Commission and presses a more elaborate account. He lays out his three-shooter, six-shot model for how Kennedy and J. D. Tippit were killed. He argues that Oswald never genuinely defected to the Soviet Union but had been a double agent manipulated by intelligence services and then framed. On the witness stand Jean Hill recounts her original report of a knoll shooter; Willie O'Keefe repeats his memories of hearing Ferrie and "Clay Bertrand" discuss assassination plans. Forensic experts demonstrate the difficulty of firing the sequence of shots attributed to Oswald from the Book Depository with his skill level and the Carcano rifle. Garrison calls attention to Ferrie's death after he told investigators about a plot, to Jack Ruby's earlier and unexplained killing of Oswald, and to the alleged federal pressures that altered public testimony and contained official narratives.

Defense counsel for Clay Shaw discredits several witnesses and underscores the lack of direct, corroborated evidence linking Shaw to any plot. Prosecutors face cross-examinations that highlight inconsistencies and the speculative character of many allegations. Media coverage paints the courtroom drama as a clash between a maverick prosecutor and an establishment keen to preserve the official story. After deliberating for less than an hour, the jury returns a verdict of not guilty, acquitting Clay Shaw. The judge dismisses the remaining charges and Shaw walks free.

On the courthouse steps, the public and the press swarm. Garrison exits the building bearing the weight of the defeat and the knowledge that his legal case has not triumphed in open court. He has failed to secure a criminal conviction against Shaw, but the trial stage has given him an opportunity to put his version of events before a jury and, through extensive coverage, before the nation. In the film's final scenes Garrison returns home to his family. Though his prosecution of Shaw did not produce the legal outcome he sought, his persistence alters the view his wife and children hold of him. Liz and their children--who had worried over his single-minded pursuit and feared for their safety--acknowledge the determination and courage he displayed in pursuing answers. Their renewed respect and the mending of domestic ties are shown in private moments of reconciliation: conversations at the kitchen table, a quiet embrace, and the reestablishment of familial routines. The narrative concludes with Garrison continuing to believe that the full truth about Kennedy's death remains obscured and with him having repaired his relationship with his wife and children, leaving the legal and historical questions about the assassination unresolved in public judgment.

The ending of the 2025 short film Babushka shows Annie Parker-Reed confronting the evil tied to her family's past after discovering an old Babushka doll in the attic. The past's dark influence catches up with both Annie and her young daughter, culminating in a tense and chilling resolution where Annie must face the inherited evil to protect her child.

Expanding on the ending scene by scene:

The film's climax begins when Annie and her daughter find the old Babushka doll hidden away in the attic of their home. This discovery acts as a catalyst, bringing the sinister family legacy into the present. The doll, symbolic of the past's grip, seems to awaken or manifest the evil that Annie has been desperately trying to shield her daughter from.

As the tension rises, eerie and unsettling events unfold around them, indicating that the evil is no longer dormant. Annie's protective instincts intensify as she realizes that the threat is now directly targeting her daughter. The atmosphere grows increasingly oppressive, with shadows and sounds emphasizing the supernatural presence linked to the doll.

In the final moments, Annie confronts this malevolent force head-on. The film does not depict a traditional battle but rather a psychological and emotional confrontation, where Annie's determination to break the cycle of inherited evil is palpable. The fate of Annie and her daughter is left with a sense of ambiguous resolution--Annie's courage suggests a chance for protection and survival, but the lingering presence of the doll hints that the past's influence may never be fully eradicated.

Regarding the main characters at the end:

• Annie Parker-Reed remains the central figure fighting to protect her daughter, embodying resilience despite the overwhelming darkness.
• Annie's daughter is vulnerable but under her mother's care, caught in the crossfire of the family's haunted legacy.
• The evil connected to the Babushka doll is the antagonist force, representing the inherited curse or trauma that the family must face.

The film closes on this tense note, with the doll as a haunting symbol of the past's inescapable reach into the present.

In the 2025 movie titled Babushka, there is no detailed publicly available information specifying that any characters die, nor descriptions of the circumstances of any deaths. The film centers on a possessed Babushka doll that unleashes a chain of malevolent entities, forcing a mother and her young daughter to confront generational trauma, but no explicit mention of character deaths is found in the available summaries or descriptions.

The search results do not provide a cast list or plot details that include character deaths or their circumstances for this specific 2025 film Babushka. Other results relate to different films or unrelated topics.

Therefore, based on current information, no characters are confirmed to die in Babushka (2025), or at least such events have not been publicly documented or described in detail.

For the movie titled Babushka (2025), there is no available information in the search results indicating the presence of a post-credits scene. None of the sources mention Babushka or provide details about any post- or mid-credits scenes for this specific film. The search results focus on other 2025 movies like Ballerina, How to Train Your Dragon, Heart Eyes, Megalopolis, and Superman, but do not include any data about Babushka's post-credits content.

Therefore, based on the current information, it appears that Babushka (2025) does not have a post-credits scene, or at least no publicly documented one is available as of now.

The Babushka doll found in the attic acts as a catalyst that unleashes the past and evil entities, continuing a cycle of trauma affecting Annie Parker-Reed and her young daughter in the story.

Annie Parker-Reed is the protagonist who is desperate to protect her young daughter from an inherited evil. Her struggle against this evil forms the central conflict of the film.

The inherited evil manifests through supernatural or malevolent forces connected to the Babushka doll, impacting both Annie and her daughter as the past resurfaces to threaten them.

Annie Parker-Reed is the mother who is fiercely protective of her young daughter, trying to shield her from the evil that has been passed down through their family.

The main actors include Hayley McFarland, Bourke Floyd, and Lorin McCraley. Hayley McFarland stars as Annie Parker-Reed, the mother fighting to protect her daughter from the inherited evil.

The 2025 short horror film Babushka is not family friendly and may be upsetting for children or sensitive viewers. It involves themes of possession, malevolent supernatural entities, and generational trauma centered around a Babushka doll.

Potentially objectionable or upsetting aspects include:

• Horror elements such as possession and evil forces.
• Dark themes involving trauma passed through generations.
• Scenes that may be intense or frightening, especially for young children.
• The presence of a malevolent doll, which can be disturbing.

The film is a 28-minute horror short and is designed for mature audiences rather than children. It is advisable to avoid showing this film to young or sensitive viewers.