Movie Review | Babygirl – From its opening scene—one soaked in sex, self-pleasure, and an abundance of Nicole Kidman—Babygirl boldly announces itself as one of the most provocative films of the year. Directed by Halina Reijn (Bodies Bodies Bodies), this edgy drama delivers an unflinching portrayal of desire, power, and self-destruction, cementing its place alongside the recent wave of unapologetically steamy films like Love Lies Bleeding, Challengers, and Anora.
Synopsis:
A high-powered CEO, Romy Mathis (Nicole Kidman), puts her career and family on the line when she begins a torrid affair with her much younger intern, Samuel (Harris Dickinson). What starts as a thrilling sexual awakening quickly spirals into something far more dangerous, as Romy’s carefully curated life begins to unravel under the weight of her deepest, darkest desires.
A Reimagined Erotic Thriller
At first glance, Babygirl’s premise might feel familiar, echoing classic erotic thrillers that pit power and desire against societal norms. But Reijn cleverly subverts expectations by flipping traditional gender roles. Instead of the lecherous older executive being a man, the film places a woman—poised, powerful, and polished—at the heart of this scandalous affair. Romy is not merely seduced; she is the active seeker of submission, craving an escape from her pristine, high-powered life.
Harris Dickinson’s Samuel is not the stereotypical young seductress; instead, he carries an air of blasé confidence, walking into Romy’s world with the nonchalance of someone who has always known his own allure. Unlike the Lolita trope often associated with such narratives, Samuel is fully aware of the power he holds, positioning himself as a dominant figure who both feeds and exploits Romy’s deepest fantasies.
Kidman’s Volpi Cup-Winning Performance
Nicole Kidman is no stranger to taking on provocative, career-defining roles (Eyes Wide Shut, The Paperboy, Big Little Lies), and Babygirl adds another fearless performance to her résumé. As Romy, she oscillates between icy control and raw vulnerability, offering a deeply layered portrayal of a woman caught between societal expectations and personal cravings. Her performance, which earned her the Volpi Cup at the Venice Film Festival, is a testament to her ability to shatter her own image of Hollywood glamour in favor of something grittier, messier, and far more human.
An Affair That’s Both Irresistible and Unsettling
Romy and Samuel’s relationship is undeniably electric. Their chemistry is charged with tension—sometimes playful, sometimes excruciatingly uncomfortable. As Samuel coaxes Romy into submission, making her grovel on a dingy hotel floor or drink a glass of milk on command, Babygirl dives headfirst into the complexities of power exchange. These moments are steeped in both eroticism and unease, pushing the boundaries of traditional BDSM narratives while maintaining a firm commitment to consent as an integral part of the dynamic.
Despite its focus on dominance and submission, Babygirl avoids the pitfalls of portraying BDSM as inherently abusive. Instead, the film treats it as an avenue for Romy’s self-discovery. The power dynamic is ever-present, but pleasure—shared, negotiated, and sometimes awkwardly stumbled upon—is the film’s ultimate goal. Even at its most uncomfortable, Babygirl invites viewers to explore their own inhibitions, challenging preconceptions about who gets to claim desire and on what terms.
A Stellar Supporting Cast
While Kidman and Dickinson command the film, the supporting cast adds depth and emotional stakes. Antonio Banderas delivers a tender, heartbreaking performance as Romy’s devoted husband, Jacob, whose obliviousness to her inner turmoil makes their inevitable reckoning all the more gut-wrenching. Sophie Wilde (Talk to Me) shines as Romy’s perceptive assistant, Esme, while Esther McGregor and Vaughan Reilly provide generational contrast as Romy’s daughters, Isabel and Nora. Their perspectives on love and relationships highlight the shifting cultural attitudes toward sex, power, and agency.
A Film That Dares to Make Viewers Squirm
Babygirl is not for the faint of heart. Some will see it as a bold exploration of female desire, while others will find it deeply unsettling or even outright pornographic. The film revels in its discomfort, daring its audience to sit with the moral ambiguities of Romy’s choices. Its sexual frankness is reminiscent of the ’90s erotic thrillers that once dominated cinema but rarely centered on female agency with such complexity.
A Contender for Awards, Despite Potential Backlash
With Kidman’s Venice win, Babygirl could easily be an awards-season contender. However, the film’s graphic sexuality and subversive themes may prove divisive. While recent Oscar wins for films like Poor Things have shown that unapologetic nudity and sexual liberation can be rewarded, ageism and gender biases may challenge Kidman’s chances. Hollywood still tends to balk at narratives where older women unapologetically pursue their desires—particularly when their object of affection is a younger man.
Final Verdict: A Daring, Defiantly Playful Exploration of Sex and Power
Emotionally raw, provocatively erotic, and darkly humorous, Babygirl stands out as one of 2024’s most compelling films. Reijn’s direction balances tension, playfulness, and emotional depth, crafting a narrative that is equal parts titillating and thought-provoking. Kidman delivers one of the most daring performances of her career, embracing vulnerability and recklessness with fearless abandon.
Not everyone will embrace Babygirl—its themes and explicit content will inevitably alienate some audiences. But for those willing to surrender to its pleasures and perils, it offers a captivating, conversation-starting cinematic experience. In a year where sex has made a triumphant return to the big screen, Babygirl stands as both a testament to and a challenge against the genre’s conventions.
Rating
Aaron: 8 / 10 “edgy, provocative and bold“
Zak: 6 / 10 “edging between provocative and pornographic with awkward moments “
Cinema Experience:
Nestled on the outskirts of Perth’s CBD, The Backlot delivers a distinctive and intimate cinema experience. With only 50 seats, this private screening room is designed for exclusivity, offering a cozy yet upscale atmosphere. The cinema also features a stylish lounge area and a fully stocked bar, making it a go-to venue for film enthusiasts looking for something more personal than your typical multiplex.
One downside is the room’s compact size. Even from the back row, the screen feels overwhelmingly close, reducing the immersive quality of the viewing. Despite this, The Backlot still manages to charm with its boutique appeal, perfect for private screenings or smaller, more personal gatherings. For those seeking a unique and tailored cinema experience, it offers a refreshing alternative to the larger cinema chains, albeit with a few logistical hiccups.
While this cinema usually provides a good experience, this visit was marked by confusion and a lack of professionalism. When ordering a “No Sugar Coke,” I was given a regular Coke instead. The attendant insisted I had only said “Coke” but eventually replaced it.
The biggest issue, however, was the movie itself. For the first 10 minutes, the cinema’s background music continued playing instead of the movie’s audio. When I reported this, the attendant incorrectly claimed the film had started with the correct sound. In reality, the background music had never been turned off, and the movie audio had never been switched over.
RelatedPosts
To make matters worse, when the film was restarted, viewers were unexpectedly subjected to Nicole Kidman’s explicit scene twice. Overall, a frustrating and poorly managed experience.
Viewed at The Backlot, Perth.
Media Release – Universal
Link to A24 HERE
TV Central Movie Reviews HERE
I thought it was sad that a powerful successful woman had to lower herself to that level to achieve sexual satisfaction. It’s like a self sabotage. She finds excitement in risking her marriage and relationship with her children to grab a few moments of dark pleasure. Pushes life to the edge to feel alive. She needs to feel joy in the small and wonderful things around her.