Babygirl works better as a compelling exploration of interpersonal and professional power dynamics, juggling too many individual pieces that work better in isolation.
Some traditions in film never seem to die, but others have been left in the dust, until they eventually make a comeback.
That seems to be the case of the incredibly niche “erotic drama” genre, which while thriving in the 90s went somewhat dormant in the past few decades, but with Challengers, Hit Man, The Idea of You, Lisa Frankenstein and now Halina Reijin’s Babygirl not only seeks to reinforce the subgenres return, but its existence demonstrates tremendous range in Reijin’s storytelling talents, in a period where so much discourse argues both back & forth on the merits or “necessity” of sex scenes.
Reijin’s unapologetically charges forth with this sexual power fantasy where 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). Also, a radical departure for Kidman compared to her latest previous work A Family Afair, who can be heard before we even get a glimpse at the sexual charged story, as Romy makes love with her theatre director Jacob (Antonio Banderas), who climaxes before his wife, only for us to see her sneak away in the night to finish herself off watching porn, instantly painting a picture of tone & mood.
Reijin makes it easy to be absorbed by her sexually charged fantasy about control & power dynamics as Romy, the CEO of a robotics company, is well acquainted with getting what she wants in her professional career, but not so much in inside the comfort of her home, feeling stifled by Jacob’s somewhat selfish sexual tendencies, while caring & kind, he fails to play along with her fantasies, ultimately leaving Romy unfulfilled and afraid to express herself.
As if by divine intervention, a new intern named Samuel arrives to Romy’s company. Instantly assertive, mordant & unafraid to take charge, it doesn’t take long for him to catch Romy’s eye, and to arouse her. Due to a company mentor program, it doesn’t take long for Romy and Samuel to begin their torrid love affair, behind closed doors, with a dynamic contrasting the one they in the workplace.
Reijin is wise not to speed things up unnecessarily between the two, cinematographer Jasper Wolf intimately captures many passing glances between the two of them, slowly but surely turning up the temperature with fleeting moments leaving us wanting more until finally earns what’s been thriving for all along, and the rest goes as one can expect: an sudden kiss inside a private room, the constant taunting to act on each other’s advances, but it’s an unexpected glass of milk followed by an emboldening “good girl” that begins to show us the real Romy, not the bossy CEO who takes command, but someone who desires to be controlled and pleasured, and while her interest in Samuel terrifies her, as it could potential ruin her career & marriage, that’s exactly what excites her.
Kidman and Dickinson’s deliver collective bold performances, with the highlight of their sexcapades being a furiously sexual, but also awkward & hilarious, first encounter that gives way to a montage not soon to be forgotten.
But, as well realized as Reijn’s passionate scenes can, there is something that doesn’t she doesn’t entirely light a spark when it comes to the chemistry between Kidman and Dickinson, two competent actors who are clearly comfortable with one another, but it never quite changes or evolves from its initial stages, failing to hit the mark much like the film’s other many plot points and underwritten characters.
What Reijin makes clear is Romy’s attempts at therapy to control, or even subdue, her sexual desires, something she believes may stem from a trouble childhood, but sadly there’s nothing more to it besides one exchanged and a brief flashback we never get much information about this time of Romy’s life, which feels essential to inform her character and her, a lot of time head scratching decision making which contrast a character so well defined as an intelligent woman.
Reijin’s questionably avoids diving any deeper or offer any kind of explanation, making the story feel filtered. Similarly, we learn barely anything about Samuel, who he is and why Romi catches his eye, which could’ve helped Reijin’s exploration of power dynamics, the messy blending of personal and professional when Samuel begins a relationship with Romy’s assistant Esme (Sophie Wilde), yet another story thread we only learn about due to Romy and Samuel having one expository argument about.
This is sadly the most in depth we get into each relationship, as both Wilde and Banderas are criminally underutilized, with the latter having the standout scene in the film near the climax, as is Romy’s daughter Isabel (Esther McGregor) who seems to share her mothers tendencies, but more so goes through a microwaved arc with a beginning and an ending while nothing of substance in the middle.
But while Babygirl may fail at delivering anything more than your most basic erotic thriller, it more than excels at banging needle drops: from pop hits to rock classic and even hard techno. The film ironically seems to be at its best when focused on anything but Kidman and Dickinson underwhelming forbidden lust for each other, with the hottest and most enticing love scene being the one the film opens with.
Even so, while its most integral parts don’t quite land as well as they should nor wanted, there’s enough intrigue in Babygirl’s thematic explorations on marriage and sexual desire can be enough to generate intrigue and hopefully continue the erotic drama subgenre comeback, and maybe erotic thrillers too.
Babygirl works better as a compelling exploration of interpersonal and professional power dynamics, juggling too many individual pieces that work better in isolation rather than an erotic thriller due to steamless set pieces, despite a banging montage to the sound of INXS.
Final Grade: C+
About Babygirl
A high-powered CEO puts her career and family on the line when she begins a torrid affair with a much younger intern.
Babygirl comes to theaters December 25, 2024.
NEXT: MARIA Movie Review | Venice Film Festival 2024
Renato Vieira. 28.
Film Critic/Screenwriter from London UK
Masters Degree in Film Directing.
EIC of YouTube Channel “Ren Geekness”.