Film review: ‘Babygirl’. By Nick Gardener from ‘Built For Speed’

Babygirl is a bold, visually seductive, funny but repetitive psychological drama from Bodies, Bodies, Bodies director Halina Reijin.  The film touches on a range of themes including sexual hang-ups, office politics, lifelong trauma, social rules and the collision of different forms of power – particularly corporate and gender – in the uncertain context of a changing economy and society.

The film centres on tech company CEO Romy (Nicole Kidman) who, having become disillusioned with her marriage to theatre director Jacob (Antonio Banderas), embarks on an ill-advised affair with young intern Samuel (Harris Dickinson).  Immediately attracted to each other, Romy and Samuel begin a strange series of flirtatious, power-shifting cat and mouse games and clandestine encounters that lie somewhere between sado-masochistic sex and animal training. Despite Romy’s attempts to compartmentalise this secret relationship, it begins to creep into her regular life and even her family home, causing her to unravel.

As much as Romy and Jacob play oddball games with each other, this film plays with its audience.  At various points, it looks as if it will turn into a more artistically savvy 50 Shades of Grey or a gender-flipped Fatal Attraction.  Thankfully, Babygirl deftly avoids such clichés and feels more akin – at least in style and tone – to another psychosexual drama, Eyes Wide Shut as well as the unsettling off-kilter works of Yorgos Lanthimos.

Reijin and cinematographer Jasper Wolf give the film a striking look with textured compositions that are often bathed in lurid red.  An unexpected scene at a heaving, sweaty rave party is particularly memorable.  Cristobal Tapia de Vee (National Treasure, The White Lotus) adds to the imposing atmosphere with an effective score. There’s also clever use of songs although the inclusion of an INXS track at one point seems oddly out of place.

Above all else, this is Kidman’s film. She gives the troubled Romy an indelible mix of fierce ambition, tetchy impatience, icy assuredness and gnawing uncertainty.  There are suggestions that, as a child, Romy was the victim of abuse at the hands of a cult but while this is only addressed vaguely, Kidman convincingly depicts someone haunted by events beyond her control.

Harris Dickinson is appropriately precocious and at times creepy as Samuel but he remains something of an enigma throughout the film and it feels as if we needed more background information to give Samuel greater substance.  Antonio Banderas brings his usual class to the role of the cuckolded husband but he’s a little underused here.  Australian audiences will be pleased to see Sophie Wilde (Talk To Me) in an impressive turn as Romy’s clever and eager assistant Esme.

Some may feel compelled to dismiss this film an arty excuse for a bit of titillation but many will be thrilled by its filmmaking quality and intrigued by its ideas about the shapeshifting relationship between men and women.

Nick’s rating: ***1/2

Genre: Psychological drama.

Classification: MA15+.

Director(s): Halina Reijn.

Release date: 30th Jan 2025.

Running time: 115 mins.

Reviewer: Nick Gardener can be heard on “Built For Speed” every Friday night from 8-10pm on 88.3 Southern FM.

 

 

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