921 words, 5 minutes read time.
At its core, Babygirl is a film about vulnerability—emotional, professional, and sexual. Nicole Kidman delivers a hauntingly nuanced performance as Romy. She is a high-powered CEO. Romy finds herself spiraling into a dangerous relationship with Samuel. He is an ambitious intern played by Harris Dickinson. The film follows Romy through the complexities of her life. She navigates her professional status and family dynamics. Meanwhile, Samuel draws her into his manipulative web.
Dickinson’s portrayal of Samuel is compelling, capturing the character’s ambition and manipulative nature. His physical appeal adds to the character’s allure. However, his acting skills truly stand out. They make Samuel a complex and intriguing figure. The film’s exploration of Romy’s fragility is multi-faceted. It examines how her professional status, family life, and unfulfilled desires create the perfect storm for possible downfall.
One of the most striking aspects of Babygirl is its depiction of sex—or, more accurately, its restraint in showing it. While the film centers on a relationship defined by seduction and manipulation, the actual sexual encounters are understated, almost clinical. This restraint shifts the focus to Romy and her internal experience. For example, the film leans heavily on scenes of female masturbation, emphasizing her frustration and unmet needs. It paints a portrait of a woman who isn’t getting what she wants—sexually or emotionally—from her husband, Jacob. This lack leaves her vulnerable to Samuel’s calculated advances.
This dissatisfaction is woven into the fabric of her life even before Samuel appears. Her home life, though seemingly stable, is shown to be hollow. Her husband does not notice her needs. Her role as a mother to her two daughters, Emily and Sophie, leaves her feeling isolated. She yearns for something more. Samuel offers her a spark. However, the power dynamic between them complicates her ability to fully control the situation. Her professional role as his superior further complicates her understanding of what is happening. Although Romy is in charge at work, she craves humiliation and losing control in her sexual life. This contrast adds depth to her character.
A scene in a nightclub teases at the film’s potential to delve into more provocative territory. Samuel is shown dancing with another man, the tension between the three palpable. For a moment, it seems the story might veer toward a threesome. This would explore different sexual dynamics. These dynamics would expand its themes of desire and power. Yet, the film remains steadfast in its focus on one-on-one sexual encounters. This choice, while deliberate, feels like a missed opportunity to fully embrace the complexities of its characters and their needs.
The film’s sex scenes, while carefully shot, are more about control and longing than physical intimacy. The emphasis on Romy’s solitude—her masturbation scenes, her yearning glances, her quiet frustration—drives home the point that Samuel represents an escape, not necessarily a fulfillment. This is further underscored by the lack of reciprocity in their encounters. Samuel is always in control, and his naked body is conspicuously absent from the narrative. Is this deliberate, a symbol of how detached and transactional their relationship is? In one scene, Samuel sends Romy a glass of milk in a bar, and she drinks it for him. Then she licks her lips. Later, he makes Romy crawl on the floor and drink milk from a saucer like a cat, further emphasizing her submission and humiliation.
Even in its quietest moments, Babygirl simmers with tension. Samuel’s manipulations are powerful. The scene where he sends her a glass of milk in a bar is more powerful than any overt seduction. The power dynamic is always clear. He is pulling the strings. She, despite her professional stature and family, is at his mercy. This dynamic becomes more complicated. Rachel, a colleague, discovers their affair. She begins to blackmail Romy. Rachel threatens to expose Romy’s relationship with Samuel unless Romy complies with her demands.
Antonio Banderas plays Jacob, who exudes the whole Silver Fox vibe, adding another layer of complexity to the story. The acting in Babygirl is excellent, with each actor delivering a compelling performance. However, it is the lack of depth in the script that ultimately lets the film down.
The music in Babygirl is subtle yet effective, enhancing the film’s emotional depth without overpowering the narrative. The score uses haunting melodies. Minimalist arrangements underscore Romy’s internal turmoil. They also emphasize the tension between the characters. The cinematography is equally impressive with carefully framed shots. These shots highlight the characters’ isolation and the claustrophobic nature of their relationships.
Babygirl is a restrained yet provocative film that explores the intersection of power, vulnerability, and unmet desire. Nicole Kidman delivers a nuanced performance as Romy. Harris Dickinson portrays Samuel with a balance of physical appeal and strong acting skills. The film’s restraint in depicting sex shifts the focus to Romy’s internal experience. The film also explores themes of vulnerability, power dynamics, and unmet desires throughout. The music and cinematography enhance the film’s emotional depth and tension. Unfortunately, the script lacks depth, which is a notable drawback. The film is reluctant to push further into its darker themes. It also avoids bolder sexual territory. This will leave some viewers wanting more. Yet, its subtlety and hints at psychological depth are undeniably compelling. Kidman’s performance anchors a story about craving connection. This craving can become both a weapon and a weakness.
By Pat Harrington
Picture credit
By Babygirl, a production of A24, 2AM and Man Up Films. – “Babygirl Movie Poster”. IMP Awards. United States. Retrieved October 1, 2024., Fair use, https://en.wikipedia.org/w/index.php?curid=78013536
