Halina Reijn’s Babygirl is the erotic thriller that breaks many conventions. From the word go, the film goes on to set a space for the exploration of all the power, desire, and control, which wraps a narrative that plays into the game of gender, autonomy, and self-awareness in its story. With its intimate and unexpected opening, Babygirl drags the audience through a world of complicated relations where nothing is straightforward enough to be left out. Everything is at stake here for the protagonist, Romy Nicole Kidman.
The Early Moments: A Setup of Temptation and Tension
In the opening minutes, we meet Romy, a highly successful CEO with it all—success in the career field, a family, and a relationship with her husband that appears loving. This seems so until a few minutes into the movie, as a perfect life is almost instantly thrown out the window. After an exhausting sex session with her husband, Romy sneaks herself to the bathroom, where, behind closed doors, she indulged in pornography and ended herself secretly. This scene tells a lot about secret desires of Romy setting up for the rest exploration of forbidden impulses.
By cutting straight to the chase, Babygirl avoids the typical slow-burn narrative of many erotic thrillers, where the “perfect” marriage slowly unravels due to secret cravings. Instead, it offers a more nuanced take, laying bare the protagonist’s desires right from the outset. This direct approach not only makes the film more engaging but adds layers of complexity to Romy’s character.
Romy’s Journey: Power and Vulnerability
Romy is a woman of power; she heads a company that creates robots which are designed to replace the human workers in warehouses. Her husband, Jacob, is a theatre director; he is rehearsing Hedda Gabler, a play centered on the theme of a woman trapped in an unsatisfying marriage. The choice of these occupations is not incidental. It quietly heralds the inner turmoil inside Romy, for she can hardly keep both her professional and personal lives going without a tinge of control and performance. However, as Babygirl later unfolds, there seems to be more behind Romy’s need to have a world in control.
The arrival of Samuel, played by Harris Dickinson, on the streets of the city and into Romy’s life reawakens the inner struggle in her. Not only does Samuel stand out for his physical presence, but it’s also the unbothered air of self-assurance with which he is imbued that sets him apart. He happens to remark at a crucial juncture that Romy is the sort of girl who likes being told what to do. Bold, uncharacteristic, and unsettling, it is quite a statement from him. It is the first of many moments that upset Romy’s balance as Samuel appears to see beyond her very carefully constructed persona in a way no one else ever could.
This chemistry between Romy and Samuel is the core material of the movie. There develops from this unvoiced attraction an entire storyline where dominance, submission, and consent are explored deeply. Samuel is not manipulating Romy but is forward and bold with Romy about this type of relationship, where not only can lines be drawn, but her wants can be discussed honestly as well. For Romy, this kind of exchange is both foreign but intoxicating. She struggles with her own desires and the conflict between her public persona and private yearnings.
Power and Control: The Real Attraction
In their interactions, Samuel introduces Romy to the concept of consent, a crucial moment in the film that forces her to confront not just her desires but her need for control. This theme of consent is explored with rare frankness and honesty, avoiding the cliché of manipulative behavior often found in films dealing with dominance and submission. Samuel’s explanation of consent is refreshingly grounded, offering an insightful take on the complexities of power dynamics in relationships. Unlike other characters in similar narratives, Samuel isn’t a controlling figure; rather, he respects Romy’s autonomy, which ultimately makes him more desirable to her.
The film continues to delve into Romy’s internal battle, as she becomes addicted to the relationship with Samuel, even as it challenges her worldview. She is unable to understand this new form of intimacy, where power is shared and mutual respect is paramount. Romy’s resistance to these new dynamics becomes the emotional core of the film, as she tries to reconcile her professional identity with her newfound vulnerability.
Harris Dickinson’s Star Turn
While Nicole Kidman gives a formidable performance as the conflicted Romy, the film is truly lifted off the ground by Harris Dickinson’s portrayal of Samuel. Dickinson, a talent already proven in roles like Beach Rats and Triangle of Sadness, brings quiet intensity to this role. He plays his character with an ease that never crosses into arrogance to make Samuel a compelling figure of desire. This makes his relationship with Romy genuine and transformational as he is so peaceful but does not dominate in terms of power play.
Dickinson is subtle yet magnetic, and this ability to remain composed and yet be an object of desire is a very hard quality for a male actor. That balance between vulnerability and strength in Samuel’s character makes him really attractive. The chemistry he shares with Kidman makes it easily palpable on screen.
Emotional Underpinnings and Visual Flourishes
The film refers to Romy’s past by hinting at a possible troubled childhood and unresolved trauma. Although these aspects are only slightly touched on, they do add an element of depth to the character of Romy: her need for control would be a direct result of the emotional wound. However, the film does not take too much time to dig into these back-story elements, instead emphasizing the current emotional turmoil that defines the journey of Romy.
Babygirl is characterized by stunning cinematography and bold musical choices. The score by Cristobal Tapia de Veer is full orchestral and often overwhelming, painting a mood that captures the intensity of Romy’s inner turmoil. Iconic needle drops, like Never Tear Us Apart by INXS, add to the film’s emotional beats. The scene where Samuel dances to George Michael’s Father Figure, shirtless and full of confidence, is a standout moment. Slow, deliberate movements of Samuel as he dances, knowing he is pleasing himself as well as Romy, is a very powerful portrayal of power in motion.
Conclusion
Babygirl is an ambitious exploration of power, vulnerability, and desire, in the sleek, emotionally charged wrapping of a package. With the direction as razor-sharp as that of Halina Reijn, and the performance as potent as those of Nicole Kidman and Harris Dickinson, this is not just a film intellectually riveting but also visually breathtaking. In its bold foray into complex relationships and power play, Babygirl becomes one daringly insightful addition to the erotic thrillers genre. It’s a film that challenges all of the traditional notions of love, control, and submission, making it an unforgettable cinematic experience.
