‘Babygirl’ Review: Nicole Kidman and Harris Dickinson Embrace Every Dangerous Turn in a Dark Thriller About Unruly Desire

As a seasoned film critic with over two decades of experience under my belt, I must say that “Babygirl” is a refreshing and unapologetic exploration of desire and power dynamics, masterfully brought to life by a stellar cast led by Nicole Kidman and Timothée Chalamet. The film’s ability to walk the line between horror and humor, creepiness and charm, is nothing short of remarkable.

Halina Reijn’s 2022 English film debut, “Bodies Bodies Bodies,” was a compact yet delightfully dark slasher mystery that delved into the minds of its Gen Z characters. In her latest work, “Babygirl,” the Dutch director explores once more the unique wiring of young individuals, showcasing their self-awareness about their desires and potentially those of others as well. However, this is merely a playful hint in the narrative of a middle-aged woman, powerfully portrayed by Nicole Kidman, seeking freedom as she yields to her long-suppressed desires.

The movie is captivatingly mysterious, edgy, and full of unexpected twists, blending an undercurrent of tension with sharp wit. It dwells in a thematic realm not dissimilar to Reijn’s 2019 debut film, Instinct, which revolves around a female prison therapist who becomes entangled in a precarious infatuation with a rapist. Similarly, Babygirl explores the question of power through a dangerous dance of seduction that continually reshapes the boundaries in its exploration of desire, gender roles, and power dynamics. There are hints of Steven Shainberg’s Secretary, but this story is told predominantly from a female perspective.

As a gamer immersed in the storyline, I embody Romy Mathis, the CEO of a New York automation firm specializing in Amazon-like warehouse delivery systems. In my real life, I’m a mom to two lively teenagers, Isabel (Esther McGregor) and Nora (Vaughan Reilly), and I share a life with my successful theater director husband, Jacob (Antonio Banderas). The opening scene captures an intimate moment between us, a bold depiction of our relationship that certainly grabs attention.

It becomes apparent that Romy’s duties in the bedroom involve performance, as she saunters down the hallway once Jacob dozes off and achieves orgasm by watching adult content. Later on, she urges her spouse to be more assertive during their intimate moments, which predominantly causes him to giggle awkwardly with embarrassment.

Initially, it’s clear that Reijn portrays Romy not as a stereotypical ambitious businesswoman, but rather someone with fragile aspects. Instead of the typical power suits, she opts for cashmere wrap coats and dresses with sash collars in flowing materials and delicate patterns, suggesting a woman of depth. Moreover, she demonstrates kindness towards her employees, although her devoted executive assistant, Esme (played by Sophie Wilde), encounters obstacles when discussing her aspirations for advancement.

Romy is meticulous with her management style, so she’s taken aback when new intern Samuel (Harris Dickinson) challenges her with a question concerning the balance between automation and sustainability. Prior to this encounter in the office, Samuel had caught her attention outside when he skillfully handled a loose dog causing distress on the sidewalk. This incident, although predictable, will subtly resurface in future events.

In subsequent interactions with Samuel, it becomes clear that he’s unfazed by Romy’s role – his relaxed gestures and blunt speech make this evident. At the office Christmas party, he announces his decision to team up with her in the mentorship program, even though Romy repeatedly claims she’s too swamped for involvement. However, Romy attends their arranged 10-minute meeting despite her objections.

During their conversation about her past and current position, the topic of power arises. Catching her off guard, Samuel remarks casually, “I believe you enjoy being given orders.” This inappropriate comment concludes the meeting, but Samuel prevents her from leaving by giving her a kiss at the door.

There’s a playful cat-and-mouse exchange, such as when Samuel made a bold, amusing gesture during an office social event. However, this lightheartedness doesn’t last long, as Samuel then becomes serious, leaving her a message with a location and time for a meeting. This initial encounter (at a low-class hotel that Romy finds unacceptable) makes Romy bristle and resist Samuel’s advances, claiming she’s there to put an end to his behavior. Yet, her protestations seem insincere, and Samuel remains undeterred. He even considers using the threat of involving HR as a means of gaining the upper hand.

In a nod to ’90s suspenseful thrillers, Reijn skillfully constructs the narrative, a tribute enhanced by DP Jasper Wolf’s vivid imagery. However, he consistently defies these expectations. With unwavering dedication and without an ounce of hesitation, the writer-director fearlessly challenges feminist sensibilities by exposing Romy’s role in her own oppression. The scene where Kidman gracefully lifts her elegant dress to crawl on all fours and drink from a saucer of milk is at once shocking and amusing.

Samuel, who seemingly should be off-putting due to his brash attitude, displays both arrogance and unease, punctuated by bouts of awkward laughter when she doesn’t respond instantly to his requests. Over time, as their intimate encounters increase, he demonstrates empathy towards her fragile spots and an uncanny ability to anticipate her requirements, ultimately revealing a few of his own hidden aspects.

Dickinson’s natural intensity on screen captivates us, and while he gives Samuel a hint of danger, the actor ensures we never confuse him with a stalker or power-hungry maniac. Since his role in “Beach Rats,” this is the most raw sexuality he has conveyed.

Nicole Kidman delivers an outstanding performance, transitioning seamlessly from indignation to terror to eager agreement. Throughout their passionate night, which this time takes place at an upscale hotel presumably arranged and paid for by Romy, she finds herself in a submissive role one moment, suppressing her embarrassment as she disrobes, and the next, reclining in a luxurious bathrobe, appreciating Samuel’s dance, bare-chested in the center of the room.

Among several impactful song selections, “Father Figure” by George Michael is one of them, joining the likes of Robyn’s “Dancing on My Own” and INXS’ “Never Tear Us Apart.” These tunes contribute significantly to the diverse and emotionally resonant soundtrack created by Chilean-Canadian composer Cristobal Tapia de Veer.

Ultimately, the secret and intermittent romance poses a risk to what Romy cherishes most. This becomes apparent when she partially reveals her concerns to Jacob, discussing cryptically about harboring dark thoughts within since her childhood, and later at work, when it’s disclosed that Samuel is involved with Esme as well.

As a gamer, I found Wilde, the character from Talk to Me, to be quite intriguing. He injected a dash of wit into Esme’s power game, using her knowledge about his other relationship in a way that benefited her, and cleverly combining corporate jargon with buzzwords like “radical self-honesty.”

In typical movie fashion, life as we know it tends to crumble. However, in this unique case, even the most volatile scenarios take an unexpected turn – especially when Jacob and Samuel engage in a physical altercation, which surprisingly triggers two instances where Banderas’ usually mild-mannered character unleashes his hidden rage.

Jacob incorrectly assumes that his wife holds power over him due to her position, believing they’re in a dominance-submission dynamic. However, in one of the film’s most amusing scenes, Samuel gently debunks this old-fashioned notion about sexuality by nonchalantly saying, “No, that’s an antiquated perspective on intimacy.”

Romy shares beautiful moments with her daughters, especially Isabel, a youthful lesbian with a trendy bleached mullet who once strayed from her girlfriend. This indiscretion serves as a means for Isabel to comfort her mother by showing that forgiveness can be achieved. The short scene is a delightfully heartwarming instance of parent-child roles being reversed.

In addition, Kidman skillfully portrays icy authority during a tantalizing interaction with a slick HR manager (Victor Slezak), who subtly implies that he has incriminating information as a means to pursue Romy romantically.

Fundamentally, “Babygirl” centers around a woman’s journey towards embracing her diverse desires as valid and free from shame, understanding that control can be flexible and enjoyable, rather than something to tightly hold onto. The film’s entertainment value comes not only from the actors skillfully handling every complex situation but also from its rejection of judgement and traditional moral guidelines. Although the movie doesn’t delve deeply and could benefit from being trimmed by 10 minutes, it offers a tantalizing, uncommon brand of perverse, flavorful entertainment that is seldom seen nowadays.

2024-08-30 20:25

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