Babygarl Movie Review: After being presented at the 81st Venice Film Festival and earning Nicole Kidman the coveted Coppa Volpi for Best Actress, Babygirl, directed by Halina Reijn (Bodies Bodies Bodies) arrives in Italian cinemas with Eagle Pictures starting January 30. The film also stars Antonio Banderas and Harris Dickinson. Thanks to Eagle Pictures we were able to see the film in preview and below we report our opinion.
Babygirl Movie Story:
Romy (Nicole Kidman) is a very successful woman, head of an important company in New York and at the same time a wife and mother. The relationship with her husband Jacob, very different from her and with a more artistic nature working as a theater director, is solid but from a sexual point of view, Romy remains unsatisfied. In the office, she meets Samuel (Harris Dickinson), a young intern who seems to intuit something about the woman's desire and is happy to take control. The result is an exciting but risky relationship, in which the two play on the razor’s edge of an ambiguous power dynamic.
Baby Girl Movie Analysis:
“Good Girl,” uttered with disarming simplicity but provocation by Samuel (Harris Dickinson) to Romy (Nicole Kidman), represents the symbolic fulcrum of Babygirl. This line concentrates a large number of meanings that transcend the dialogue and permeate the entire narrative context. The phrase takes on an intimate and transgressive value, shedding light on the complexity of the relationship between the protagonists.
Samuel is not just talking to Romy, he is responding to a hidden need, evoking vulnerability and power in a subtle balance that characterizes their bond. From this moment on, the film begins to reveal more clearly the nature of their relationship, which is articulated on a level that challenges social conventions. It is not a one-way control dynamic, but rather a continuous game of mirrors, where the roles of dominance and submission are exchanged. Halina Reijn, builds these moments, making every word, every gesture, a piece of a larger mosaic, in which hidden emotions find space to emerge.
One of the distinctive features of Babygirl is its exploration of human vulnerability, a theme that permeates every aspect of the film. Reijn approaches vulnerability not only as an emotional condition but as a central element of the relationship between Romy and Samuel. The two protagonists, distant in age, status and personal experiences, find an authentic connection precisely through their mutual emotional exposure. Vulnerability is never treated as a weakness; on the contrary, it becomes the key to revealing the deepest truths of the characters.
Romy is a woman who embodies a spectrum of contradictions. Apparently self-confident, with a role of power in her professional life, she reveals herself to be fragile and insecure in the most intimate moments. Her vulnerability emerges in the dialogues with Samuel, but also in the silences and small gestures that betray her need to be seen and understood beyond appearances. On the other hand, Samuel is not a simple object of desire.
He also carries with him insecurities and desires that manifest themselves in the dynamic with Romy, in a relationship that continually overturns the expectations of those who watch. The film highlights how vulnerability can also be an act of courage. Opening up to the other, showing oneself without filters, is a risky process that leads the protagonists to confront not only the other but also the most hidden parts of themselves.
One of the most interesting aspects of Babygirl is its representation of sexual kink, a theme often misunderstood or trivialized in cinema. Halina Reijn addresses this dimension, avoiding any sensationalistic or voyeuristic approach even if this may appear on screen as “cringe”, or strange. Kink is like a form of communication between Romy and Samuel, an alternative language that allows them to express desires and needs that would not find space in social conventions.
The relationship between the two protagonists becomes a testing ground, where consent is the basis. Each interaction is meticulously crafted, showing how boundaries are established and respected. This not only adds realism to the narrative but also offers a respectful and complex portrayal of a subject that is too often simplified or stigmatized. Romy and Samuel do not use kink as an escape from reality, but as a means to explore themselves and their relationship more deeply and authentically.
In particular, the film stands out for the way it treats female sexuality. Romy is not a passive character, she is a woman who takes control of her sexuality and allows herself to desire and explore without shame. This representation is made even more powerful by Nicole Kidman's performance, who brings to the screen an intensity and vulnerability that make Romy incredibly human. Sexuality, in Babygirl, is never reduced to a simple narrative element; it is an integral part of the character's journey, a force that transforms them and brings them closer.
Halina Reijn confirms herself as a sensitive and talented director, capable of combining a modern vision with a tribute to the classics of the erotic thriller, even if this is not a true erotic thriller. Her direction is a perfect balance between minimalism and intensity, in which each shot is designed to reveal something more about the characters. Hands that touch or prolonged glances become powerful narrative tools, capable of building an atmosphere full of emotional and erotic tension.
The use of space is equally significant. The environments in which the characters move – aseptic offices, luxurious but bare interiors, cold and impersonal conference rooms – become the places of Romy’s inner isolation. These spaces reflect her sense of alienation, contrasting with the moments of intimacy she shares with Samuel.
The performances of Nicole Kidman and Harris Dickinson are at the heart of Babygirl. Kidman offers a nuanced and intense performance, giving life to a character that is a mix of strength and fragility. Romy is a woman who must face the contradictions of her life: professional success is not enough to fill an emotional void that only Samuel seems to understand. Harris Dickinson demonstrates surprising artistic maturity. Samuel is a complex character, aware of the power of his beauty but also vulnerable. Dickinson manages to capture these nuances, transforming Samuel into a three-dimensional character, far from the simple stereotype of the “object of desire”.
Babygirl is much more than a film: it is an emotional and sensorial experience that challenges the viewer to confront complex themes such as power, vulnerability and the discovery of pleasure. Thanks to a refined direction, focused performances and a courageous narration, the film establishes itself as a work capable of leaving a deep mark for better or for worse. Despite some imperfections, such as the risk of indulging too much in symbolism, Babygirl proves that cinema can still surprise, excite and tackle taboo themes with elegance and depth.