Similar to the expectations of a mother, Halina Reijn’s new film straddles multiple roles. It finds a balance between family drama, romance, and eroticism as it explores the familial and romantic relationships of the leading woman. The family dynamics establish the risk while the larger commentary comes from the office environment and the politics that accompany the surroundings of a woman in power. The film keeps suspense at an all-time high as the audience is always aware of the looming consequences that follow the actions of the main characters, but are kept waiting until they strike, and strike hard they do. With battling desires and secrets flowing left and right, it only takes one mistake for the world Reijn builds between the two leads to come crashing down.
Nicole Kidman plays Romy, the CEO of an Amazon-like company who discovers new desires and an undiscovered side of herself following the interactions with Samuel (Harris Dickinson), a new intern. Romy is not only a powerful and successful businesswoman, but a mother and wife. She is living the dream, but repressed feelings and desires begin to bubble up, causing Romy to become curious and bold. Her decision to explore her desires leads Romy to Samuel. Their relationship develops and Romy’s sexuality is challenged as Samuel’s requests become increasingly experimental and demanding. The frequency and intensity of the relationship increase the risk of exposure, resulting in Romy's inner turmoil about whether to submit and maintain her life or end it all out of guilt.
The film challenges traditional workplace romances as the power dynamic is flipped on its head. What is expected of the genre is for the older male in power to be dominant, however, in Babygirl a young man is in the place of making demands while the woman in power submits. Considering this change, it becomes clear that Romy is an extremely complex character as Reijn puts her through constant turmoil, putting the audience in her head to consider the ways out of her situation. Her battle between repression and liberation is at the forefront and she is constantly pushing up against the boundaries of safety to explore her truest desires. The same goes for Samuel who is young and unsure what he wants. While Romy’s past informs her decisions, Samuel is a wildcard that keeps the audience on their toes and their stress high.
Both characters have insecurities that peek through the performances that they put on while together. Samuel’s unpredictability creates a dichotomy of confidence and anxiety that oftentimes makes his actions unexpected while Romy is driven by her success until she is overcome by lust and uncertainty. Both never truly know what they want which makes the couple mesh crookedly. They may not see eye to eye, but somehow both end up leaving fulfilled.
As the relationship grows beyond control, the consequences creep in quickly. Sadly, they fly by. The weak link of the film comes from pacing. So much of the film is building up the intensity of the relationship while viewers’s fear of the duo getting caught follows along. However, once their relationship is known to Romy’s family, the film brushes over the fall from grace that both characters experience. The juiciest drama plays out at the end of the second act, but elongating it could have been beneficial in matching the intensity that played out between Samuel and Romy sexually. Instead, the energy stalls once the confrontation ends.
Perhaps it was Reijn’s objective to keep the consequences brief to maintain a sense of liberation and empowerment. The director is not afraid to show female sexuality and desire which is a subject that more and more shy away from meaning that Reijn’s authentic depiction is compelling and something to be enjoyed on the big screen.
Written by Marli Dorn
Edited by Grace Phalon
Nicole Kidman plays Romy, the CEO of an Amazon-like company who discovers new desires and an undiscovered side of herself following the interactions with Samuel (Harris Dickinson), a new intern. Romy is not only a powerful and successful businesswoman, but a mother and wife. She is living the dream, but repressed feelings and desires begin to bubble up, causing Romy to become curious and bold. Her decision to explore her desires leads Romy to Samuel. Their relationship develops and Romy’s sexuality is challenged as Samuel’s requests become increasingly experimental and demanding. The frequency and intensity of the relationship increase the risk of exposure, resulting in Romy's inner turmoil about whether to submit and maintain her life or end it all out of guilt.
The film challenges traditional workplace romances as the power dynamic is flipped on its head. What is expected of the genre is for the older male in power to be dominant, however, in Babygirl a young man is in the place of making demands while the woman in power submits. Considering this change, it becomes clear that Romy is an extremely complex character as Reijn puts her through constant turmoil, putting the audience in her head to consider the ways out of her situation. Her battle between repression and liberation is at the forefront and she is constantly pushing up against the boundaries of safety to explore her truest desires. The same goes for Samuel who is young and unsure what he wants. While Romy’s past informs her decisions, Samuel is a wildcard that keeps the audience on their toes and their stress high.
Both characters have insecurities that peek through the performances that they put on while together. Samuel’s unpredictability creates a dichotomy of confidence and anxiety that oftentimes makes his actions unexpected while Romy is driven by her success until she is overcome by lust and uncertainty. Both never truly know what they want which makes the couple mesh crookedly. They may not see eye to eye, but somehow both end up leaving fulfilled.
As the relationship grows beyond control, the consequences creep in quickly. Sadly, they fly by. The weak link of the film comes from pacing. So much of the film is building up the intensity of the relationship while viewers’s fear of the duo getting caught follows along. However, once their relationship is known to Romy’s family, the film brushes over the fall from grace that both characters experience. The juiciest drama plays out at the end of the second act, but elongating it could have been beneficial in matching the intensity that played out between Samuel and Romy sexually. Instead, the energy stalls once the confrontation ends.
Perhaps it was Reijn’s objective to keep the consequences brief to maintain a sense of liberation and empowerment. The director is not afraid to show female sexuality and desire which is a subject that more and more shy away from meaning that Reijn’s authentic depiction is compelling and something to be enjoyed on the big screen.
Written by Marli Dorn
Edited by Grace Phalon
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