Babygirl

Babygirl, written and directed by Halina Reijn, is a bold and elegant dive into the complex and often difficult interplay of power, desire and identity in the modern world. The film unfolds through the lens of Romy, a high-ranking CEO perfectly played by Nicole Kidman in one of her most audacious performances to date. Babygirl aims to be an erotic thriller, but eschews the superficial glamour of its 1980s predecessors, such as Adrian Lyne's 9 ½  Weeks, to offer a thoughtful and complex exploration of human vulnerability and the limits of control.

The story opens with a juxtaposition of Romy's seemingly perfect life and her secret dissatisfaction. Married to Jacob, a charismatic theater director played by Antonio Banderas, Romy has a perfect family and a career many would envy. Yet beneath her polished exterior, she struggles with a deep sense of sexual dissatisfaction. This internal conflict is laid bare in a provocative scene where, moments after seemingly passionate marital intercourse, Romy retreats to another room to orgasm alone, watching a pornographic film. This moment sets the scene for a film that constantly blurs the boundaries between societal expectations and personal desires.

Then Samuel enters the scene, played by Harris Dickinson with a mixture of arrogant confidence and youthful naiveté. Their first meeting outside the office, where Samuel calms an aggressive dog with almost supernatural ease, is symbolic of the dynamic that will soon develop between them. Romy, who is used to controlling every aspect of her life, is drawn to Samuel's disarming frankness and intuitive understanding of her repressed desires. Their relationship, initiated under the guise of a mentoring program, quickly develops into a secret affair as thrilling as it is perilous.

Halina Reijn's direction is both bold and nuanced, creating a world that is both hyper-realistic and dreamlike. The film's visual language, captured by cinematographer Jasper Wolf, reflects the duality of Romy's existence. The sterile, robotic environment of her professional life contrasts sharply with the raw, unfiltered emotions that Samuel awakens in her. This visual dichotomy recalls the stark contrasts of Stanley Kubrick's Eyes Wide Shut, another film in which Nicole Kidman explored themes of sexual desire and marital discord.

Nicole Kidman's portrayal of Romy is simply spellbinding. She brings a palpable vulnerability to the character, making Romy's journey of self-discovery and liberation deeply understandable. In one particularly memorable scene, Romy, stripped of her usual poise, murmurs I can't, I'm going to pee, I don't want to pee, moments before reaching a raw, guttural orgasm. It's a moment that perfectly encapsulates the film's commitment to depicting sex as a messy, complex and deeply human experience.

The chemistry between Nicole Kidman and Harris Dickinson is electric, and it's this dynamic that drives much of the film's tension. Samuel's character is intentionally opaque, leaving the audience to wonder about his motivations. Is he a sincere lover looking to bond, or a manipulator exploiting Romy's vulnerability? This ambiguity adds a suspenseful element reminiscent of the power dynamics explored in films like Fatal Attraction and Basic Instinct. However, unlike these male-centric narratives, Babygirl places the woman's point of view front and center, offering a fresh and subversive take on the genre.

The script is peppered with moments of dark humor and biting social commentary. In one particularly clever scene, Samuel sends Romy a glass of milk at an office party, a playful nod to infantilization and submission. The soundtrack, which includes tracks like George Michael's Father Figure, further amplifies the film's cheeky yet introspective tone.

However, Babygirl is not without its faults. The secondary characters, especially Jacob and Esme (Romy's ambitious assistant played by Sophie Wilde), don't have the same depth as the main characters. Jacob, despite Antonio Banderas' charismatic performance, feels underused, serving mainly as a plot device to reinforce Romy's internal conflict. Similarly, Esme's arc, which hints at a potential power play, remains frustratingly unexplored.
Despite these shortcomings, Babygirl succeeds in achieving its main objective: to provoke thought and conversation about the nature of desire, power and identity. It challenges traditional notions of femininity and power, suggesting that true power comes not from societal validation, but from acceptance of one's authentic self.

Drawing parallels with other films that tackle similar themes, such as Secretary and The Duke of Burgundy, Babygirl stands out for its refusal to offer easy answers. While these films often delve into the subtleties of established relationships, Halina Reijn's work focuses on the groping, uncertain beginnings of a woman coming to terms with her desires. It's this attention to the messy, unpolished reality of human relationships that makes Babygirl both refreshing and hard-hitting.

Babygirl is a film that invites its audience to confront their own preconceptions about sex, power and control. It's a bold, uncompromising work that, like its protagonist, refuses to be categorized. Whether you find it provocative, empowering or deeply disturbing, there's no denying that Babygirl leaves a lasting impression. And in a cinematic landscape increasingly devoid of authentic eroticism, it's a remarkable achievement in its own right.

Babygirl
Written and directed by Halina Reijn
Produced by David Hinojosa, Halina Reijn, Julia Oh
Starring Nicole Kidman, Harris Dickinson, Sophie Wilde, Antonio Banderas
Cinematography : Jasper Wolf
Edited by Matthew Hannam
Music by Cristobal Tapia de Veer
Production companies : 2AM, Man Up Films
Distributed by A24 (United States), SND (France)
Release dates : August 30, 2024 (Venice), December 25, 2024 (United States),January 15, 2025 (France)
Running time : 115 minutes

Seen January 9, 2025 at Forum des images

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