Directed by: Halina Reijn
Written by: Halina Reijn
Run Time: 1 hour 55 minutes

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Casting one of Hollywood’s all-time greatest actresses, Nicole Kidman, alongside such a popular rising star, Harris Dickinson, is quite the power move from writer-directer Halina Reijn. Appropriately so, considering that’s exactly what her latest film, Babygirl is all about. Power in business, power in relationships and most prominently: power in sex.

Naturally, Kidman starts with it all, playing successful tech CEO, Romy Mathis. However, unsatisfied by her sex-life with husband Jacob (Antonio Banderas), she finds herself suddenly drawn to one of her new interns, Samuel, played by Dickinson. After some feeble attempts at resisting his advances she eventually submits to his desires, while simultaneously starting to explore her own. But with her assistant Esme (Sophie Wilde) also developing a soft spot for Samuel, their office affair becomes increasingly at risk of being discovered.

That’s all part of the thrill though, and with Kidman and Dickinson’s undeniable sexual chemistry present throughout, Babygirl is likely to have audiences hot under the collar. This is only heightened by Cristobal Tapia de Veer’s seductive score that pulsates sensuality through all of the film’s most intimate moments. Yet, these sections won’t be for everyone. After all, Reijn is exploring a sexual kink – in this instance, domination and submission – which by definition lends itself to non-convention, and therefore divisiveness. What some find sexy others won’t, but Reijn’s intentions extend far beyond just eroticisim.

Unlike her previous film, horror-comedy Bodies Bodies Bodies (2022), Reijn both writes and directs here, and Babygirl is all the better for it. Her direction and writing impressively inform one another, working in tandem to coherently present the story of Romy’s sexual liberation. Her screenplay ponders Romy’s position of power and the illusion that comes with it, one that’s shattered by her own sexual dissatisfaction. To those looking up and aspiring to her powerful image Romy has it all, but in reality she can only become fulfilled when that power is taken from her – and as Samuel, Dickinson manages this with considerable conviction.

He exudes an unshakable confidence that in itself is unquestionably sexy. Unbothered by her authority or influence Samuel presents Romy with such rare and unexpected indifference that she can’t help but become enamoured with him, unlocking these deep, unrealised sexual urges within her. Dickinson’s physicality is imposing in a way that demands attention, both of Romy and the audience. And while Kidman takes on the submissive role in their relationship she’s by no means Dickinson’s lesser, rather excelling in a particularly vulnerable role that she commits to with unsurprising aplomb.

Outside this central dynamic, Reijn is careful to demonstrate that Romy’s submission with Samuel does not come at the expense of her power elsewhere. Nor does it mean giving in to the outdated gender roles and male dominance that she has so clearly fought against her whole career. Instead by relinquishing her power Romy actually takes charge of her own sexual fulfilment, and watching her persist in this pursuit of passion remains suitably stimulating right up to the film’s quite literal climax.

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Star Rating: ★ ★ ★ ★ 

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