There’s a certain backhandedness to calling an actor “brave,” but truly, few are willing to take on the daring and challenging roles Nicole Kidman will. Her latest performance in writer-director Halina Reijn’s “Babygirl” proves Kidman has no interest in slowing down or being cast aside in an industry that doesn’t value age and experience.
“Babygirl” is Reijn’s follow-up to 2022’s smug, self-satisfied “Bodies Bodies Bodies” and finds her operating in a completely different register. Kidman stars as Romy, the CEO of her own company, who seemingly has it all: a high-powered job, wealth, a beautiful family (her husband is played by Antonio Banderas) and a luxurious Manhattan apartment. But, there’s something missing for Romy.
Her company has introduced an intern program, where she meets Samuel (Harris Dickinson). Samuel is magnetically drawn to Romy and requests her as his mentor, which she immediately scoffs at. Romy’s a powerful woman whose time is valuable, how could she be bothered with something like mentoring an intern?
It turns out what Romy has been missing is someone like Samuel to awaken her kinks and entertain her fantasies. When they have their first session together, Romy tells Samuel she can offer him seven minutes of her time. Samuel has other plans for her and it turns out the power dynamics are upended, with him calling the shots.
While the exploration of power and sexual dynamics feels a bit surface level throughout “Babygirl,” Kidman and Dickinson make for a captivating pair. Dickinson, who often timidly mumbles through his performances, uses that persona to great effect. His character seems so unassuming and it’s fascinating to watch him catch someone like Romy off guard. She’s used to calling the shots, but he senses she just might be ready to relinquish some of her power.
There’s no place an actor like Kidman isn’t willing to go, which she proves again in “Babygirl.” Romy is a no-nonsense kind of boss, who always projects confidence and power, but under her outer layer is someone who is longing for something else. She knows what she wants, but might not always be able to articulate it. That’s why Samuel does most of the talking when they are together.
“Babygirl” has been easily labeled an erotic thriller and there certainly are elements that would support that. But this isn’t an erotic thriller like “Fatal Attraction” or “9 ½ Weeks.” The kinks displayed on screen aren’t the purpose of the movie, nor does it ever tread in any thriller tropes. Reijn’s film is more of a character study about a woman finding ways to express herself sexually and realize she doesn’t have to project such perfection. There are consequences, but rarely any judgement emanating from the film.
The movie isn’t deep, but it’s thrilling to watch Kidman work. For an unlikely double feature this holiday season, the Christmas-adjacent “Babygirl” pairs well with Kidman’s Christmas-adjacent “Eyes Wide Shut.” Twenty-five years later, Kidman is still taking on a challenge.
“Babygirl” opens in theaters Wednesday, December 25.
Matt Passantino is a contributor to CITY.
This article appears in Dec 1-31, 2024.
