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Nicole Kidman Gives One of the Finest Performances of Her Career in Babygirl

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Nicole Kidman Gives One of the Finest Performances of Her Career in Babygirl

As a seasoned film critic with decades of experience under my belt, I must say that Babygirl is undeniably one of the most captivating and thought-provoking films I’ve seen in recent years. Nicole Kidman delivers an exceptional performance that transcends age and convention, offering us a glimpse into the complexities of midlife and the allure of forbidden desires.

In an optimistic perspective, we sometimes refer to age 50 as midlife, but let’s be realistic – many of us might not reach the century mark. However, this doesn’t mean we should spend our later years in gloom. Regardless of how much time we have left, the thought-provoking film “Babygirl” by Halina Reijn suggests that one powerful idea lingers like a strong fragrance: it’s our desires and their memories that give us a sense of life.

In a more relaxed phrasing: Nicole Kidman portrays Romy, an exceptionally successful businesswoman who oversees a colossal company, reminiscent of Amazon. She commutes to work daily, donning stylish pussy-bow blouses and plush coats made from high-end fabrics – if executive authority had a color, she would be the head honcho of Taupe and Sand Pink. Romy frequently shifts between a sleek, chic Manhattan apartment and a charming, spacious home nestled just a quick, enviable drive away from the city. She shares a close bond with her two daughters: Isabel (Esther McGregor), the mature and earthy teenager, and Nora (Vaughan Reilly), the slightly younger one who cherishes feminine pastimes like costumes and dance – they cause minimal hassle. Her husband, Jacob (Antonio Banderas), a renowned and mysteriously attractive stage director, cherishes her deeply, both in their personal life and beyond it.

It quickly becomes apparent in the movie’s early scenes that there’s something amiss in this seemingly perfect life. In their marital bed, Jacob performs all the expected actions to please his wife, yet she remains unresponsive. She feigns enjoyment, slides out of bed, grabs her laptop, and hastily exits, leaving Jacob asleep behind. In the next room, she relies on a pornographic video to complete what should have been shared intimacy.

In her usual routine, Romy finds comfort in maintaining the status quo, but today, an unexpected event disrupts that tranquility. Upon arriving at work, she encounters a German Shepherd running wild on the street. A tall, scruffy young man, seemingly with telepathic abilities over dogs, manages to calm the canine. Later in the day, this same individual will leave an impact on Romy as well, both soothing her nerves and igniting them simultaneously.

This is Samuel, played with purring carnality by Harris Dickinson. Romy doesn’t know it when she sees him on the street, but he’s one of her new interns, and he’ll turn out to be an agent of erotic chaos. Samuel’s motives are never clear. (A small credit-sequence coda raises more questions than it answers.) But that’s probably the point: Babygirl is all about Romy’s stifled desires, her inability to take responsibility for her own pleasure. It’s also, partly, about the desire not to hurt those we love. Romy knows she’s made a vow to her husband, whom she genuinely loves, and Samuel the space invader—that is, a man who has invaded both her head space and the vibrating force field around her—is causing nothing but problems.

Life, in essence, seems to revolve around problem-solving, particularly those intimate issues that are hard to discuss with loved ones or friends. The film “Babygirl” follows an erotic thriller’s structure, and it delivers on that promise, filled with a sense of danger and tension. However, Director Reijn, known for her exceptional acting skills, particularly in Paul Verhoeven’s 2006 “Black Book”, has crafted a movie that explores multiple dimensions simultaneously. It’s so engaging that you might not immediately recognize its profound impact on you. This is Reijn’s third directorial venture, following “Instinct” (2019) and “Bodies Bodies Bodies” (2022), but its subtlety and skill make it seem effortless. The film is also an excellent platform for actors, as Reijn seems to intuitively understand their talents and has built a bond of trust with them. This connection gives the movie a sense of luxury and secrecy. You never anticipate the worst, making it a captivating experience, like savoring a spoonful of cream.

Concerning cream, Reijn possesses a playful, mischievous wit, and her performers are all in on the act. In their workplace, Samuel often looks at Romy with a mix of approval and possession. He’s already controlling the situation; she’s merely unaware. After work, when Romy goes for drinks, Samuel is also present, socializing with his colleagues elsewhere in the bar. Strangely, a glass of milk shows up on her table, catching her eye as Samuel looks over. Initially, she’s angered by this perceived disrespect. However, her response morphs into a flirtatious, coy acquiescence. She finishes the milk in one gulp and raises her gaze challengingly, thinking she’s bested the dare. Later, as Romy pays the bill, Samuel approaches and whispers, “Well done.

Not even scratching the surface, Reijn delves into numerous complexities concerning power dynamics – both at work and in intimate relationships, highlighting the unspoken expectations women leaders face compared to men, as well as the fears and lengths women go to combat aging. Samuel ensnares Romy in a secret relationship, yet it’s her internal struggle with guilt over her own enjoyment that causes turmoil. Esme, one of Romy’s assistants (played by Sophie Wilde), is vying for a promotion but senses Romy’s indiscretions. She doesn’t shy away from using her perceived moral high ground as a means to criticize Romy, accusing her of not being a good role model for upcoming female professionals. However, Reijn subverts our expectations in this exchange, making it one of the most impactful scenes in the movie.

Nicole Kidman, along with Dickinson, finds themselves in a questionable alliance, delving into risky or even taboo grounds. Despite his young career, Dickinson has proven to be exceptional, delivering standout performances. He shines as a puzzled teenager in Brooklyn’s outskirts in Eliza Hittman’s “Beach Rats,” and as an unwilling fashion model in Ruben Östlund’s “Triangle of Sadness.” (He’s the sole redeeming factor in Östland’s otherwise smug, self-important film.) He excels here, displaying a mix of mystery and allure. At one moment, he draws Romy towards him; at the next, he subtly pushes her away, leaving both the character and the audience intrigued. In reality, he would be trouble. However, as a captivating on-screen villain, he only brings delight.

The film primarily showcases Kidman’s exceptional talent, with this role being among her best performances throughout her illustrious career. She appears to be at a point where she doesn’t give a damn about conventions (DGAF), indicating a promising future for her. It’s challenging to understand how she delivers such captivating performances in Babygirl. Her face, pristine like fine porcelain untouched by time, contrasts the usual demands of acting. We appreciate expressiveness and versatility in actors, but Kidman seems to draw upon deep emotions within herself—there are intense feelings, yet she reveals them only through slight glimmers of light and warmth. The result is both subtly powerful and deeply moving. In her initial encounter with Samuel, despite his request for a sexual act in a seedy hotel that she wouldn’t normally visit, she expresses a mix of pleasure and shame. “I can’t,” she says. “I’m going to pee—I don’t want to pee.” She then makes a sound reminiscent of a distressed animal, such as a horse in its stable. In this scene, one of the most beautiful actresses of modern times taps into our primal instincts.

In this film, Nicole Kidman is a delight to behold. The movie’s most captivating scene takes place in a luxurious hotel where Romy and Samuel meet. Romy arrives dressed elegantly for the evening, but she soon discards her dress as if removing barriers between her outer self and her inner self. This isn’t a typical striptease scene; it’s more about transitioning from one state of being to another. The tune playing in the background is George Michael’s “Father Figure,” a song that straddles the line between naughty and innocent, hinting at taboos while comfortingly reassuring us that everything will be okay. In this scene, Samuel and Romy dance and play together, much like two bear cubs. He sheds his shirt, holds a whiskey glass, and laughs freely as he performs suggestive moves. Romy watches him intently, drinking in the moment. Who’s watching whom? For a brief while, they belong to each other and to us, and their uninhibited behavior releases something within us too. Perhaps midlife is more about being in the heart of life rather than shyly standing on the sidelines. This movie makes you believe it.

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2024-12-25 15:07

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