Babygirl Review: Erotic Thriller with No Erotic Thrills
Theatrical Movie Review - Drama
Nicole Kidman has been welcoming us to the movies for five years, but she neglects to do that ahead of her newest project, Babygirl, from writer and director Halina Reijn. Perhaps people didn’t want the magic of cinema to be muddled with the eroticism of the film, but after seeing the movie, I don’t think that this movie pushed enough boundaries for that to be a real concern.
Despite having two beautiful daughters, running a successful business, and having a handsome and attentive husband in Jacob (Antonio Banderas), Romy (Nicole Kidman) is unsatisfied with her life. As such, when a dog nearly attacks her on her way to work, she is intrigued by the young man who can control the animal. He turns out to be Samuel (Harris Dickinson), a new intern at her company who is immediately drawn to her. When the two begin a torrid affair, Romy is opened up to questions about control, power dynamics, and what is worth protecting.
Age-gap movies are always a bit of a hard sell, but Babygirl has some interesting ideas. We assume that the power rests in the hands of the older person or the person who has seniority in a job, but if the younger person can destroy what the other has built, who really has the power? How does one’s religious upbringing affect their enjoyment in the bedroom? This film touches on several genuinely fascinating topics but seems unwilling to engage with them.
This isn’t to say that there isn’t anything to like about Babygirl. The performances are truly impressive. There are a number of people who weren’t on board with Dickinson, but I found his manner precisely right for this character. His mildly off-putting manner compared to Banderas shows that this isn’t about attraction for Romy but is something more primal. Kidman shines in her role, vacillating between a woman exhibiting power and a woman shy and embarrassed by her desires. Unfortunately, there isn’t quite enough character built up to hang these performances on.
The movie is beautifully shot, but again, there were times when it felt timid in its approach to the subject matter. Rather than pushing in and allowing us to feel the discomfort that exists or even having wide shots that could convey a sense of isolation, most of the movie is filmed at a comfortable mid-length shot that allows the audience to be observers but never challenges the subject matter that the film seems to want to engage with.
There was a moment near the end of the movie that made me think that this movie was trying to say something other than what it appeared to be doing throughout, and I got excited because it would be a truly unique twist on this genre. Once again, I was let down by the timidity of the script. Babygirl had multiple opportunities to be a challenging film, but in the end, it settled for being a titillating one.