Halina Reijn’s newest film, Babygirl, was one of several Christmas Day releases to hit theaters. Critics appear to have enjoyed the film, as it has not been a stranger in the film festival circuit, especially for Nicole Kidman and her performance. However, the film has been polarizing for general audiences. This discrepancy begs the question: is the season’s newest erotic thriller up to par?
The film follows tech CEO, mother, and wife Romy Mathis (Nicole Kidman), who engages in an illicit affair with a new intern at her company, Samuel (Harris Dickinson). Romy is seeking a particular relationship dynamic, in which she is submissive to someone, and enjoys the thrill of potentially losing her job and her family. The most exhilarating moments of the film are when the audience feels these stakes, validating the film’s label as a thriller.
However, the marketing around this film being an erotica is not equally as validated. Rather, it is entirely fabricated. There appears to be some confusion among critics and advertisers which mistake films about sex, and which feature sex, as inherently erotic. Yet, this is not a movie interested in graphically depicting sex, but it is interested in power and the sexuality present in power dynamics.
The film is centered around Romy and her desires, instincts so private and primal that she can hardly confront them herself. It takes Samuel for her to feel comfortable expressing those urges, and what the audience receives is a deconstruction of power. There may be an assumption from those outside the relationship that Romy is the one in control of their relationship, as she is his boss and the CEO of the company. But she knows fully well this is not the case. Samuel has nothing to lose, which gives him a threatening and authoritative presence in the movie, further assisting the thriller elements. Romy has submitted her life to him, and the audience must eagerly watch to see what he ultimately decides to do with his new possession.
There is a sadness in Romy that the audience can resonate with. She is someone who feels so profoundly unsatisfied with her life to the degree that the audience may sympathize with her. While the film acknowledges she is not making the most moral decisions, both as a boss and as a wife, questionable morality does not rob Romy of her vulnerability and hardships. This characterization is understood by Kidman, as the actress delivered a performance worthy of the Volpi Cup at the Venice Film Festival, even receiving Oscar buzz for her portrayal of the character.
These sensitivities to the character stand out even more in the film opposite Samuel. While he is meant to be the dominant figure in their relationship, his screen presence is highly restrained. His minimal dialogue heightens his powerful presence in Romy’s life, as he needs to say very little to communicate his wants and needs.
Ultimately, it is Samuel who makes a point of explicitly deconstructing the relationship between Romy and himself, explaining to the audience the dynamic of their relationship and why they both rely on it. The intimacy between the two is the crux of the film, not the eroticism, so it is strange to see a film so focused on intimacy and desire market itself around sex and lust, because that would simply be a different movie.
As for the reception of the film, the opposing viewpoints are understandable. While it serves as a great exploration of its themes and features solid performances, it is a slow burn that toys with the audience for a bit too long before delivering. The differences in tone from the film versus the promotion of the film may have also caught audiences off guard, as the film that was promised to them would have been more exciting rather than the patient thriller they received.
Nevertheless, that complaint does not devalue the film as a well-made feature. Babygirl’s most significant issue on an audience level is that the premise is generally alienating by the nature of its themes, but from a technical standpoint, it was enjoyable. It is competently directed by Reijn and still includes a few humorous bits to alleviate the tension, most of which come from Dickinson’s small laughs and quips. The soundtrack is also notable, coherently carrying every scene. Unfortunately, not all of those scenes were enjoyable, and the film’s pacing is its ultimate technical downfall that cannot be ignored. One of the most anticipated watches of the season will be unsatisfactory for many viewers, but it is still worth the watch.
Rating: 2.5/5