Sexual desires of women. We haven’t seen that explored much in films without it turning into something more akin to exploitation than understanding. But that’s what filmmaker Halina Reijn pushes against with Babygirl, starring Nicole Kidman and Harris Dickinson.
Reijn makes the audience feel like they’re in an intimate position, watching incredibly private moments between two people. Babygirl is a conversation starter, with an evaluation of power at the centre of the story.
Babygirl release date: Dec. 25Cast: Nicole Kidman, Harris Dickinson, Antonio Banderas, Sophie WildeWriter/Director: Halina ReijnRuntime: 114 minutes
Nicole Kidman and Harris Dickinson in Babygirl (Elevation Pictures)
What is ‘Babygirl’ about?
Romy (Kidman) is the CEO of a robotics company, married to her husband Jacob (Antonio Banderas), with whom she shares two daughters. While her life is seemingly “perfect,” Romy hasn’t been sexually fulfilled in her life, shown at the beginning of the film when she sneak out of her marital bed at night to masturbate.
But Romy’s manufactured life she presents publicly is in jeopardy when the company hires new interns, specifically Samuel (Dickinson).
With a desire to be sexually dominated, her affair with Samuel leads her on a path of self-discovery.
Nicole Kidman and Harris Dickinson in Babygirl (Elevation Pictures)
Familiar pattern for women explored
What works so well in Babygirl is how Reijn shows how Romy wants to be very much in control of the image she puts out into the world. From Botox and cryotherapy, to control over how the family is dressed in their Christmas photo, and her armour of makeup and power suits she puts on each day. Romy’s desire is to never show any “weakness.”
It’s an all too familiar pattern for women, and more so the older women get. You need to be a beautiful woman, a great mom, but also “one of the boys” at work to gain respect.
As Reijn has spoken about, the film also leans into the evaluation of generational differences around sexuality, with Romy being a product of an older generation where sex and kinks are incredibly taboo. Even her relationship with her body is very different than what we see from Romy’s daughters.
Admittedly, the end of Babygirl seems a little too perfect for a story that has so many serious consequences, but Kidman tackles every scene with a layered portrayal of Romy’s shame, confusion, anger, while balancing the liberation she feels whens he’s with Samuel. It’s so utterly specific and nuanced, highlighting Kidman’s incredible strength as an actor.
Dickinson certainly matches Kidman’s efforts, really playing that line where we’re not sure of his motivations, leaning into the reality that while Romy is more successful and wealthy, he could ruin her reputation quite quickly.
It’s a film about humanity and the fact that most people, and in particular women, feel like they’re “different” or “other,” trying to present to the world as “normal” as possible.
Babygirl works because these characters and this story are approached with empathy. It’s a messy, complex, and meticulously crafted film, with Reijn not shying away from having the audience confront difficult questions about power, desire and internalized patriarchy.