Review: As the boss of ‘Babygirl,’ Nicole Kidman does a bad, bad thing
As a seasoned film critic with over three decades of experience, I must say that “Babygirl” is undoubtedly one of the most intriguing films I’ve seen recently. The way it subtly explores power dynamics, consent, and self-discovery through the lives of its characters is truly commendable.
People often find relationships and desires so intricate that it’s amazing how reproduction still occurs. We grapple with our true desires, perceived desires, and the image we want others to see in us. Additionally, there’s the added complexity of trying to figure out what others desire, which occupies many people’s time. Our species subjects itself to such intense self-examination that passion is often overshadowed by irony and embarrassment. For instance, someone might feel too ashamed to dress up for Halloween as a seductive nurse and instead opts for a seductive nun costume.
The film titled “Babygirl” portrays a sexual empowerment tale, where the main character, Romy (played by Nicole Kidman), a 50-something CEO, finds fulfillment in a dominant-submissive dynamic with her intern, Samuel (Harris Dickinson). Directed by Halina Reijn, this New York City-based movie unfolds from a faked orgasm at the beginning to a genuine one at the end. The storyline of Romy follows an intricate journey.
Eight years since the #MeToo movement began, reactions to the story might range from “Go girl!” to “What hypocrisy!” It’s unlikely that a film about a male executive sleeping with his female assistant would be well-received. Here, Romy and Samuel find common ground easily. He tells her what to do, and she follows instructions. Though it seems straightforward, their affair is fraught with danger in a cultural landscape filled with explosive triggers like economics, professional standards, and generational differences. Nowadays, the intern realizes that the boss stands to lose the most from this situation.
In my view, the sensual moments portrayed as “Babygirl” are undeniably captivating. However, what truly stands out is how Reijn masterfully stirs ethical contemplation within us. Unlike Romy and Samuel who establish safe words, our own national discussions on sexual ethics often stumble when trying to distinguish right from wrong. Instead, Reijn skillfully poses challenging queries that make us question our comfort zones.
Music
Over the final credits of “Babygirl,” you’ll hear the latest single from the singer, titled “Leash.” During a chat with The Times, she discussed her songwriting process and her ongoing struggle against her long-term recording company.
She originates from Amsterdam, known for its progressive views on sexual freedom. Her debut American movie, the 2022 slasher “Bodies Bodies Bodies,” was essentially a joke at the expense of Gen-Z and their self-imposed moral standards. One critique I had was that Reijn didn’t appear to value her characters. The film possessed style, but it exuded a cynical vibe, exploiting a backward cruelty in its delightful portrayal of eliminating irritating, arrogant individuals.
This movie seems more sophisticated in its themes. Reijn shows genuine understanding for Romy, a level of compassion that Romy doesn’t extend to others as readily. Her character portrays a CEO who wouldn’t hesitate to lay off her team, a trait evident from the start when she labels the country’s employment issue as a “labor shortage.” This term is hinted at in the opening scenes where she advocates for this perspective. Reijn, being 49 years old, was raised and rose to power under different societal norms; her millennial employees educate her that expressing vulnerability is now considered positive. The script often features younger workers admonishing their seniors, without fear of retribution. However, it’s likely that Reijn anticipates these young idealists will eventually make their own mistakes as they grow up.
In my perspective, Romy’s business specializes in robotics designed to handle tasks like packing and shipping boxes, effectively taking over human labor roles. She publicly maintains that her company is enhancing lives by freeing up time for individuals. However, I can’t help but question the sincerity of her claims, as it seems she may be either misguided or disingenuous. Despite her professed dedication to family, even within her own home, Romy appears more engrossed in her phone than with her two teenage children and husband, Jacob (Antonio Banderas).
The film can be interpreted as delving into the character of Romy, but director Reijn chooses to keep certain aspects of Romy’s past concealed. Romy’s assistant, Esme (played by Sophie Wilde), hints at Romy having grown up in a cult, and this is briefly shown in a fleeting flashback. However, the film does not provide a revealing “eureka” moment about Romy’s past. Instead, Romy’s personality is portrayed as self-explanatory.
Despite her minimalistic attire and enhanced appearance, Romy appears to regard herself as something to be molded or manufactured. On the other hand, her endearing terms such as “good girl” and “baby girl” enable her to portray vulnerability and dependence. Hollywood in Kidman’s time demanded perpetual youthfulness, which she embraced despite her career’s penchant for fearless, raw, and daring performances. Thus, it requires courage for Kidman to assume a role that forces her to acknowledge the extensive work required to resemble Nicole Kidman. In this story, Romy schedules herself for cryotherapy much like taking a car for maintenance.
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Romy’s children tease her about her attempts, with the eldest commenting that her recently botoxed face resembles a dead fish. However, beyond their jibes, it’s impossible to portray Romy as a victim in her personal life. Banderas’ character Jacob, despite being a theater director and married to Romy for 19 years, feels affectionate towards her and is strongly drawn to her. Nevertheless, he finds it awkward to give orders. Banderas permits the cinematographer Jasper Wolf to present him with a close-up of his gray beard, before assuming the role of the movie’s sidekick. This might suggest that he trusts viewers remember his past exploits in “Tie Me Up! Tie Me Down!” Reijn rewards Banderas’ generosity with a memorable scene that could potentially earn an acting nomination.
Samuel observes Romy closely, eventually discerning that Romy enjoys being bossed around. He’s rather secretive, adding another layer to the intrigue. By scrutinizing Samuel in return, we can draw some conclusions. To begin with, individuals who are so adept at gauging strangers may either be sociopathic or resilient. I’m inclined to believe the latter. Standing at 6 feet 2, Samuel towers over the other interns, giving off an air of maturity. He’s too old to have taken the typical prep-school-to-Ivy-League path. His origins are more rugged. If his worn-out blue dress shirt in almost every scene doesn’t hint at this, his excitement when Romy books a luxurious suite and he exclaims, “There’s a whole living room in here,” certainly does.
The camera finds Samuel intriguing, particularly his chin whiskers, but Romy’s attraction to him stems from his confidence and ability to make her feel less intimidated. Samuel plays his part exceptionally well, giving the impression that he’s all muscular physique, so much so that when he removes his shirt, we can only notice the surprise of his tattoos. There are enigmatic initials and an image of a masked cherub among his body art. Who exactly is this man?
Dickinson’s acting is so rich and nuanced that one could imagine him penning a detailed biography of Samuel. The unusual moment when Samuel peeks into Romy’s office through the window seems out of place amidst the otherwise harmonious narrative. However, “Babygirl” avoids slipping into a conventional thriller plotline, instead resisting the urge to victimize its characters or transform into a romantic tale. Neither character desires such a relationship either.
In a refreshing approach, the film avoids portraying Samuel as a dominatrix akin to “Fifty Shades of Grey.” Instead, they both learn and grow, much like two novices learning a complex dance while maintaining eye contact. At times, their progress is uneven and clumsy. Their initial encounter resembles an unsuccessful porn scene, with Samuel and Romy ad-libbing dialog that feels inauthentic to them. They need to halt the action and restart, with Samuel attempting to get Romy to eat candy from his hand. She hesitates, leaving him agitated. “Could you just give it a try?” he pleads. This pivotal moment sets the tone for the entire movie, as director Reijn emphasizes that consent is the bedrock of all human sexual tension. The film’s central theme becomes not about right or wrong, but whether she says yes or no.
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2024-12-24 14:34