Nicole Kidman delivers a career-defining performance in Babygirl, a searingly intimate portrayal of power, ambition, and the fractures that form within relationships. Written, directed, and produced by Halina Reijn, this bold and unapologetically raw film explores the emotional toll of unchecked desire and the consequences of choices that ripple through both personal and professional spheres.
The story centres on Romy Mathis (Kidman), a high-powered CEO of a tech company in New York City. Dissatisfied with her sex life and feeling emotionally disconnected from her husband, Jacob Mathis (Antonio Banderas), a theatre director, Romy embarks on an illicit affair with Samuel (Harris Dickinson), a much younger intern. What begins as a moment of reckless passion spirals into a complex web of power dynamics, deceit, and self-discovery.
Kidman’s portrayal of Romy is nothing short of extraordinary, undeniably one of her most daring and complex to date. She embodies a character who is fiercely confident in her professional life but profoundly vulnerable in her personal one. Romy’s internal conflict—her struggle to reconcile her desires with her responsibilities—is palpable in every frame. In one particularly gut-wrenching scene, she confesses to Jacob not only about her infidelity but also her dissatisfaction with their marriage. Kidman’s delivery is raw and unguarded, a masterclass in emotional authenticity.
Harris Dickinson’s Samuel is a fascinating foil to Romy. His initial charm and youthful energy give way to a more menacing dominance as their affair deepens. Dickinson navigates the complexities of his character with precision, making Samuel both alluring and unsettling. His manipulation of Romy, particularly in moments where he asserts control over their dynamic, is both riveting and discomforting to watch.
Antonio Banderas delivers a quietly powerful performance as Jacob, a man blindsided by his wife’s actions yet determined to confront the truth. His scenes with Kidman are charged with tension, particularly during their heated confrontation in the country house. Jacob’s vulnerability and eventual willingness to rebuild their relationship add a layer of hope to an otherwise tumultuous narrative.
Reijn’s direction is confident and unflinching, capturing the intricate nuances of these flawed characters with empathy and precision. The film’s pacing is deliberate, allowing the tension to simmer before boiling over in explosive moments of confrontation. The cinematography by Jasper Wolf is both sleek and intimate, with a muted colour palette that mirrors the film’s themes of restraint and repression.
The script deftly explores the complexities of power dynamics, particularly in the context of gender and age. Romy’s initial concern about taking advantage of Samuel shifts as he asserts his own leverage over her, creating a dynamic that is both uncomfortable and thought-provoking. The affair’s fallout—from professional repercussions to personal reckonings—is handled with a realism that avoids sensationalism.
However, Babygirl is not without its flaws. Some moments verge on melodrama, particularly during the climax where Jacob discovers Romy and Samuel together. Additionally, the subplot involving Esme (a colleague aware of Romy’s affair) feels underdeveloped, serving more as a narrative device than a fully realised character arc. These shortcomings, while noticeable, do little to detract from the film’s overall impact.
The final act is a testament to Reijn’s ability to balance darkness with redemption, culminating in an intimate moment that is both tender and bittersweet. It’s a conclusion that underscores the complexities of forgiveness and the possibility of growth, even in the wake of betrayal.
Babygirl is not always an easy watch, but it’s a deeply compelling one. For those willing to engage with its raw emotional core, this film offers a richly rewarding experience. Reijn has crafted a provocative and thought-provoking triumph, anchored by powerhouse performances and a narrative that lingers long after the final frame.
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