Nicole Kidman, after years of captivating audiences through her roles in television and film, continues to astonish and encourage viewers to reconsider her performances. With her latest role in Babygirl, she solidifies her position as one of the most daring and intrepid actors of her generation. This film, penned and directed by Halina Reijn, showcases the actor's remarkable talents as she fully immerses herself, both physically and emotionally, in the character of a woman embroiled in a clandestine affair with a younger colleague. The narrative is infused with elements of seduction, peril, and dark humour, making Kidman's performance compelling and worth every moment of attention.

The premise

In the film, Kidman portrays Romy, a highly accomplished businesswoman who appears to lead a flawless life. Balancing her time between a Manhattan apartment and a suburban bungalow, she seemingly possesses everything one could desire. She is a devoted mother to her two daughters, Isabel (Esther McGregor) and Nora (Vaughan Reilly), and a supportive wife to Jacob (Antonio Banderas), a theatre director. However, beneath this façade lies her dissatisfaction with her sexual relationship with Jacob, a reality revealed in the film's opening sequence.

In her professional life, Romy exudes an air of authority, managing her responsibilities with a composed demeanour. Her secretary, Esme (Sophie Wilde), assists her in maintaining this image. The narrative takes a turn when a young and charismatic intern named Samuel (Harris Dickinson, who delivers a remarkable performance) enters the scene, bringing an unexpected spark. He is both direct and cunning, often suggesting that he possesses a deeper understanding of the situation than others realize. He quickly positions himself as her 'mentor' through the company's program, boldly asserting that she enjoys being 'told' what to do, leading to an impulsive kiss that alters the course of their relationship.

What works

Romy is acutely aware that this situation is inappropriate, and that whatever transpired between them must conclude immediately. Nevertheless, this will evolve into a deeply intense and intricate relationship. Once Romy yields, she finds herself uncertain about her desires. Traditionally, she has maintained a position of authority both at home and in her professional life; however, in this instance, she finds herself submissively following Samuel's commands, moving as if her entire being is ensnared by a perilous enchantment. Halina meticulously crafts these scenes, emphasizing Kidman's expressions with the urgency characteristic of an independent film. This approach benefits the narrative, as Romy's desperate transgressions starkly contrast with the opulent comfort of her life that she is willing to jeopardize.

"Babygirl" is remarkable in its exploration of female desire, unencumbered by any puritanical moral constraints. It presents a nuanced portrayal of a woman seeking both empowerment and vulnerability, striving to escape the confines of traditional femininity and desire. Halina cleverly navigates the complexities of workplace relationships, infusing humour into the narrative—most notably in a scene where Romy, offered a glass of milk by Samuel, drinks it in front of her colleagues, creating an instantly memorable moment.

Nicole Kidman stuns

Despite its numerous strengths, Babygirl is unfortunately not without its shortcomings. The third act significantly diminishes the initial sense of danger that the film establishes, likely due to a desire to avoid overly punishing its female lead. This section feels hurried and unnaturally safe, which contrasts with the complex themes that had previously worked in its favour. The film shifts towards a more compliant and restrained tone, diverging from the defiance and recklessness exhibited by its characters. This situation brings to mind the boldness displayed in Aparna Sen's Bengali film Parama (1985), which adeptly navigated similar character dilemmas. Such dynamic movement is notably absent here.

Nicole Kidman emerges as the cornerstone of Babygirl, even during its more unstable moments. Her performance is nothing short of extraordinary—raw, open, and intensely captivating. She imbues Romy with a poignant blend of existential turmoil and physical desire, offering a psychological complexity that the script lacks. What does Romy truly seek? Is she unaware of the repercussions of her actions? This inquiry lies at the heart of Babygirl; it aims to transcend boundaries and confront her with harsh realities. Kidman strips away layers of both clothing and emotional defences, revealing herself in pursuit of clarity. Perhaps she, too, is uncertain of the answers. Nevertheless, as long as Romy continues to question, Babygirl compels us to engage with her journey.

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