he buzz-creating and envelope-pushing and wickedly great “Babygirl” is one of those zeitgeist movies that elicit talk-show debates and op-ed articles and cultural essays, e.g., an op-ed piece in the New York Times titled, “The Surprising Sexual Politics of Nicole Kidman’s ‘Babygirl,’ ” an interview with writer-director Halina Reijn in The New Yorker titled, “A Feminist Director Takes on the Erotic Thriller,” an article called “Nicole Kidman Addresses The Orgasm Gap in Steamy New Film ‘Babygirl’ ” (Marie Claire Australia) and how about “A Banner Year for Moms Gone Wild,” an article in the Canadian daily website The Tyee.
Whew. Interesting takes, one and all, and the Dutch writer-director Reijn is clearly commenting on issues of sexuality, the modern workplace dynamic, feminism, capitalism, classism, sexism and possible some other “isms” along the way, but “Babygirl” works primarily as an unapologetically and outrageously bold and sexy thriller.
Reijn’s second English-language film (after 2022’s superb horror comedy “Bodies Bodies Bodies”) has drawn comparisons to certain lurid, button-pushing works from the 1980s and 1990s such as “Fatal Attraction,” “9½ Weeks,” “Sliver,” “Basic Instinct,” “Disclosure” and “A Perfect Murder.” For me, it’s most reminiscent of 2002’s “Unfaithful,” starring Diane Lane, Richard Gere and Olivier Martinez, with its storyline about an upscale, seemingly happily married couple whose world is turned upside down when the wife embarks on a torrid and reckless affair with a younger man she barely knows.
In this case, Nicole Kidman and Antonio Banderas play the upscale couple and Harris Dickinson portrays the younger man, and I’ll not say if things turned out the same way they do in “Unfaithful” because that would make me a monster.
Nicole Kidman’s Romy Mathis is the highly successful CEO of a computerized delivery company called “Tensile.” Her husband Jacob (Antonio Banderas) is an acclaimed theater director and just about the most affable and loving partner one could imagine. Romy and Jacob have two intelligent, independent, wonderful daughters (Esther McGregor and Vaughan Reilly), a Manhattan apartment the size of an airplane hangar and a gorgeous country home with a heated pool.
They’ve got it all, or so it would seem, but even before we learn all the particulars of Romy’s life, we get an indication that all is not perfect. After Romy engages in seemingly passionate lovemaking with Jacob, she slips down the hallway and hunkers down in front of a laptop for a furious masturbation session while watching a particular genre of porn. Oh.
Romy has a kind of meet-brute with the self-possessed and laconic Samuel (Harris Dickinson) when a barking and agitated dog is about to attack Romy on the sidewalk before Samuel saves the day with help of a cookie he has conveniently stored in his pocket. Later that day, Romy is surprised and clearly a bit intrigued to see that Samuel is among the group of new interns being given a tour of the Tensile offices. Samuel makes a request that Romy become his mentor, and though the CEO doesn’t usually participate in the program, Romy agrees to a quick, private meeting with Samuel.
Sparks fly. Words that should not be spoken are spoken. Romy chastises Samuel for his inappropriateness, but she’s saying one thing and telling him something else. It’s game on.
While Romy has all the power in the workplace, it’s Samuel who exerts control in the affair, tapping into Romy’s fierce desire to be submissive, to give herself completely, to surrender to Samuel’s demands even as she feigns disgust or tells him this must stop, now — and then it continues.
“Babygirl” alternates the steamy sex scenes with moments of wry commentary and sly references, whether it’s the stunningly beautiful Romy undergoing cryotherapy and botox and other treatments to maintain her looks, or the fact that poor Jacob’s latest Broadway endeavor is a production of “Hedda Gabler,” the story of a woman who feels trapped and deeply dissatisfied in her marriage — not to mention the use of songs such as George Michael’s “Father Figure” and “Never Tear Us Apart” by INXS. (There’s also a key subplot involving Romy’s executive assistant Esme, played by the wonderful Sophie Wilde, who is continually rebuffed by her supposedly feminist icon of a boss when she tries to talk about career advancement.)
Kidman gives a nomination-level performance as a woman who seems to have everything figured out and is always in charge — and then is terrified by the possible consequences of her actions. Banderas is a quiet anchor to the story, and he has a showcase moment late in the story that reminds us of his screen-rattling power as an actor. Harris Dickinson brings a kind of slimy charisma to the role of Samuel; he’s that guy you know has a trashy soul and probably will do you wrong, but still, you can’t help yourself. “Babygirl” rocks.