Babygirl Movie (2024): Nicole Kidman’s Daring Exploration of Power and Desire

When Dutch filmmaker Halina Reijn’s baby girl movie hit screens on its December 25 release date, it arrived weighted with the legacy of classic erotic thrillers.

While the initial Babygirl trailer promised something akin to its spiritual predecessors Basic Instinct and Indecent Proposal, the final film took a markedly different approach to desire and power, surprising audiences who’d followed its journey from trailer to theatrical release.

The Surface and What Lies Beneath

The cast of Babygirl film, led by Nicole Kidman as Romy Mathis, brings gravitas to this complex narrative.

As CEO of a thriving tech company, Romy commands respect in the boardroom. At home, she shares what appears to be a passionate marriage with theatre director Jacob (Antonio Banderas).

Yet in private moments, we glimpse another reality – after seemingly enthusiastic lovemaking with her husband, Romy retreats to watch pornography alone, a scene heavy with desperation and shame.

This careful establishment of Romy’s inner conflict sets the stage for what follows in the Babygirl movie.

When she encounters Samuel (Harris Dickinson) calming an aggressive dog on the street, their interaction crackles with unspoken tension.

Their subsequent office meeting, ostensibly about coffee preferences and cookies, carries layers of meaning beneath its mundane surface.

Each line serves multiple purposes, from Samuel’s presumptuous questioning about her coffee consumption to Romy’s telling response – refusing to answer before immediately revealing the truth.

The Shadow of Nine and a Half Weeks

While Nicole Kidman’s Babygirl movie draws inspiration from various erotic thrillers, it’s Nine and a Half Weeks that casts the longest shadow.

Yet where that 1986 film softened its source material’s darker elements, Nicole Kidman’s Babygirl maintains its psychological complexity.

The power dynamics between Romy and Samuel subvert expectations – despite her professional authority, she seeks submission.

However, as the film astutely notes through its narrative choices, in any BDSM relationship, the submissive partner often authors the scene.

This nuanced understanding elevates the film beyond simple role reversal.

Performance as Power

Nicole Kidman, who previously ventured into similar territory with Kubrick’s Eyes Wide Shut, brings remarkable vulnerability to the Babygirl film.

As the Reddit discussions reveal, her portrayal of Romy has particularly resonated with viewers familiar with BDSM dynamics, who praise the authenticity of her character’s internal struggles.

Her performance reflects both professional command and private yearnings without falling into caricature.

Cultural Impact and Reception

Since its release date, the Babygirl movie has sparked intense online discussion.

During theatrical screenings, some audiences have walked out, while others praise its unflinching examination of female desire.

As one viewer noted in post-screening discussions, “This is not a film about being sexy – it’s about examining sexuality itself.”

The film’s portrayal of workplace dynamics has generated particular debate.

The compressed Christmas timeline, with the entire story unfolding during one holiday season, has led to heated discussions about whether certain scenes exist in reality or in Romy’s imagination.

The swimming pool sequence and various hotel meetings have especially divided viewers on this point.

Layers of Meaning

The Babygirl movie’s recurring motifs have sparked numerous interpretations.

The dog imagery, from Samuel’s initial calming of an aggressive street dog to later symbolic references, has generated extensive discussion about power dynamics and control.

The film’s use of Christmas decorations throughout adds another layer of complexity, with some viewers seeing it as commentary on domestic obligations while others interpret it as a dreamlike framework for the narrative.

Beyond Titillation

Reijn’s direction makes a crucial distinction – this isn’t meant to be a “sexy” film but rather a film about sex, desire, and power.

The awkwardness of certain scenes, particularly the initial hotel encounter, feels deliberately constructed.

This stands in stark contrast to the glossy eroticism of traditional Hollywood thrillers, suggesting a more European art-house approach to the material.

Breaking Conventions

The film subverts audience expectations at several key moments. The lack of traditional consequences for Romy’s actions has sparked heated debate, as has the ambiguous nature of Samuel’s true motivations.

These elements, combined with hints about Romy’s cult upbringing and unresolved plot threads, create a more complex narrative than the marketing might suggest.

A New Kind of Psychological Drama

Since its release date, Nicole Kidman’s Babygirl has found both commercial and critical success, grossing over $31.3 million worldwide and earning Kidman the Volpi Cup for Best Actress at Venice.

Yet its greatest achievement might be how it reinvents elements of the erotic thriller genre for a contemporary audience.

By focusing on psychological dynamics over physical encounters, it creates space for discussions about desire, shame, and power that feel particularly relevant to current conversations.

Whether the Babygirl movie ultimately succeeds depends largely on viewer expectations.

Those seeking traditional thriller elements might leave disappointed.

However, for audiences willing to engage with its deeper psychological elements and its exploration of power dynamics, the film offers rich territory for discussion and debate.

Like the best psychological dramas, it raises more questions than it answers, leaving viewers to grapple with their own responses to its provocative themes.