THE STORY – A high-powered CEO puts her career and family on the line when she begins a torrid affair with her much younger intern.
THE CAST – Nicole Kidman, Harris Dickinson, Sophie Wilde & Antonio Banderas
THE TEAM – Halina Reijn (Director/Writer)
THE RUNNING TIME – 108 Minutes
The year of older women getting it on continues with Halina Reijn’s highly sexual power fantasy “Babygirl,” starring Nicole Kidman and Harris Dickinson in a forbidden boss-intern affair. It’s one of the most erotic and sensual entries in this niche genre, which recently has included films like “The Idea of You” and “A Family Affair” (the latter also starring Kidman). In a time when viewers claim sex scenes are useless and don’t add much to the plot, Reijn’s film unapologetically focuses on desires and makes its sex scenes as hot and steamy as possible. With bold performances from both Kidman and Dickinson, it’s easy to get wrapped up in this irresistible fantasy about control, even if other parts of the script lack the same appeal.
We can hear Reijn’s sexually charged film before we get a glimpse of it as Romy (Kidman) moans while making love with her theater director husband Jacob (Antonio Banderas). But, as soon as he finishes, she scurries away to finish herself off while watching porn, letting out these animalistic groans. As the CEO of a robotics company, she’s used to praise and getting what she wants – though that’s not the case in her marital bed. Jacob is sensual and tender, though a little selfish with his lovemaking, as he doesn’t care to play along with her sexual fantasies. One day, a new intern named Samuel (Dickinson) arrives, and he doesn’t care about making nice. He’s abrasive, assertive, and unapologetic, and that excites Romy. When she sees him take control of a wild dog on the street, it leaves quite an impression.
Soon, neither Romy nor Samuel can hide their interest in one another. Cinematographer Jasper Wolf seductively captures the many passing glances shared between the two of them, which steadily turns up the temperature. The fleeting moments they share leave us wanting more until we finally get what we’ve come for; their first intimate moment, a kiss in a private office that Samuel initiates, is full of desire, even if Romy doesn’t know what to make of it. Soon, however, Samuel begins to taunt her and even encourages her to act on his advances. Eventually, not even she can resist someone who so confidently calls her a “good girl” (sure to be a highly shared moment on social media once the film is released).
Romy knows what she wants – to be controlled and pleasured – and she’s interested in pursuing it with Samuel, even if it terrifies her and has the potential to ruin her whole life. He also indulges in the moments he gets to boss her around. Kidman and Dickinson’s sexual chemistry is off-the-charts sizzling, and there are no two better actors for the roles. When their characters meet in a gross hotel room for the first time, they’re able to show the awkwardness and humor that comes with sex (it’s a perfect blend of Reijn’s other features, “Instinct” and “Bodies Bodies Bodies“), but when it comes time to pleasure, they mean business. In that intimate moment, all eyes are on Kidman, literally as the camera focuses on her face and her pleasure as she delivers one of the most genuinely raw performances of her career. It’s as though her character is finally discovering the person she has always been, and seeing her give in to the sensation is thrilling. Dickinson has never been better, taking on a dominant persona in and out of the bedroom, which will make audiences everywhere want him.
As well realized as Reijn’s passionate scenes are, she doesn’t entirely hit the mark with other plot points and characters in her film. Romy undergoes some type of therapy for her sexual desires, which she believes may stem from her childhood,but we never get much information about this time in her life, aside from her early career ambitions. Truthfully, this doesn’t need an explanation, and Reijn is hinting at something more without providing the necessary information, which feels frittered. However, those therapy scenes allow Wolf to play with colors and light to startling effect, conjuring images that fit perfectly with the characters’ desires. An excellently shot club sequence brilliantly captures the controlled, chaotic nature of all that happens under flashing lights.
Similarly, not much information is shared about Samuel. We get some insights about his family, but who he is and why he’s so eager to please Romy is a mystery. He starts a relationship with Romy’s right-hand woman, Esme (Sophie Wilde), and says he likes who he is when he’s with her, but very rarely do we see them together to fully understand what that means. Both Wilde and Banderas are vastly underutilized in the film, although they get large scenes toward the end of the film to showcase their talents. However, one area where “Babygirl” excels is with its banging needle drops, including Robyn’s “Dancing On My Own,“ George Michael’s “Father Figure“ – which features a shirtless Dickinson – and a burning sex montage set to “Never Tear Us Apart“ by INXS.
“Babygirl“ is at its best when Kidman and Dickinson are together on screen, making us all feel hot and bothered by their magnetic chemistry. Not only are they pulling in each other, but they’re pulling in the audience as well, bringing us along for a sexually charged fantasy that allows both performers to flex their acting muscles and bare all. Other parts of the film don’t hit the mark quite as well, but there’s no denying that “Babygirl” will intrigue the masses and get people talking.
