‘Babygirl’ Review: Nicole Kidman is Feral and Fearless as a Woman Taking Charge of Her Sexual Freedom | Venice

This is a film about sex! From the first moments, as the logos of production companies flash on the screen, we’re immersed in a world of moaning and breathy sounds that signal what’s to come—a raw, unapologetic exploration of desire. Babygirl thrusts us straight into the story of Romy (Nicole Kidman), whose unfulfilled marital sex life leaves her yearning for something more. Frustrated by the monotonous and unsatisfying encounters with her husband Jacob — played by the subtly impactful Antonio Banderas — Romy embarks on a quest for pleasure on her own terms. Director Halina Reijn uses sex not just as a plot device, but as a driving force that shapes every aspect of the film’s narrative, making it a provocative and unflinching dive into the complexities of human desire and the psyche of a woman willing to lose it all. 

Romy’s quest to understand her “obscene needs,” as she later describes them, becomes a journey of self-discovery that goes into her past, her power dynamics, and her sense of identity. Whenever Romy reflects on her past, she begins to unravel the complexities of her desires and what drives her actions. Professionally, Romy has always wielded power with confidence, famously landing an early job not by brilliance—she couldn’t even solve an equation on her job interview—but by boldly telling her interviewers to go fuck themselves. This audacious moment encapsulates Romy’s sense of power: unorthodox, defiant, and deeply ingrained. Yet beneath this exterior lies a profound incompleteness, highlighted by her lack of sexual satisfaction in nearly two decades of marriage. Romy’s obsessive need to perfect every aspect of her life, from meticulously staged Christmas photos to her constantly touched-up appearance, reveals a woman striving to fix the imperfections she perceives in herself and her surroundings.

Babygirl also explores the shifting dynamics of power and control in Romy’s life, both within her family and in her budding relationship with Samuel, played with a charismatic assuredness by Harris Dickinson. Samuel, much younger than Romy, becomes a pivotal figure in her journey toward sexual liberation. Initially drawn to him after witnessing him tame an agitated dog on the street, their roles blur further when Romy becomes increasingly captivated by Samuel’s ability to navigate power dynamics with ease and confidence leading to a provocative power play where the mentor, finds herself seeking guidance from him to explore her own body and desires. Romy’s encounters with Samuel are marked by a palpable sense of forbidden allure and discovery. Even before kicking things off, Romy and Samuel enjoyed the intense foreplay leading to their first sexual encounter. During a company outing, Samuel’s casual yet deliberate act of ordering a glass of milk for Romy across the room becomes a silent but bold move that defines the unspoken game they are playing. As Romy drinks it in one swift motion, the tension between them intensifies—are these coded signals, or are they already knee-deep in their taboo liaison? Samuel’s enigmatic nature captivates Romy, offering her a break from the predictable flattery she receives from those around her. His unpredictable questions and provocations stir something deep within her, making him a puzzle to solve and a forbidden fruit to savor. As their encounters grow more intimate, Romy’s lust for Samuel manifests with increasing power and urgency, blurring the lines between mentor and mentee, explorer and guide.

Nicole Kidman is a marvel in Babygirl. Known for her fearless approach to complex and often controversial roles, her portrayal of Romy is no exception. She brings an intense vulnerability to the character, communicating volumes with the subtlest of gestures—a sigh, a glance, or the tightening of her lips. Kidman’s performance is a masterclass in restraint and power, particularly in her handling of Romy’s close-ups, where she channels the internal turmoil of a woman teetering on the edge of transformation. One standout scene shows Romy on the floor of a cheap motel, her body sprawled out as she experiences a near-orgasm for the first time, utterly helpless by her own choice. Reijn’s camera fixates on Kidman’s face, using it as a canvas to convey every fleeting sensation Romy feels, leaving nothing to the imagination. It’s in these moments that Kidman reaffirms her status as one of the greatest actresses in the history of the medium, showcasing a profound understanding of the character’s psyche and physicality.

While actors often steal the spotlight in intimate scenes, the work of the cinematographer plays an equally crucial, yet often overlooked, role. In Babygirl, Halina Reijn’s frequent collaborator, director of photography Jasper Wolf, is a silent storyteller. His approach is both intimate and dynamic, capturing not just the rawness of the narrative but also the subtleties of character interactions— his camera becomes an active participant in the film. In a pivotal club scene, Wolf uses pulsating lights to reflect Romy’s inner turmoil and liberation, where flashing lights cascade over her face, illuminating Kidman’s nuanced performance. As she searches for Samuel, finds him, and lets loose on the dance floor, the lights amplify her shifting emotions, capturing a profound transformation in real-time. 

Dickinson brings a playful yet commanding presence that complements Kidman’s Romy. Dickinson, familiar with exploring nuanced sexual dynamics in roles like his breakthrough performance in Beach Rats and the power-driven Triangle of Sadness, captures Samuel’s duality as both a young man in control and a catalyst for Romy’s awakening. In Babygirl, Samuel wields power over Romy, and she revels in this shift, using her relationship with him as a means to redefine her understanding of sex, consent, and the constraints of societal norms. Romy’s transformation is not just about reclaiming sexual pleasure; it’s about opening her eyes to broader concepts of autonomy, consent, boundaries, and the intricate dance of power that underlies human connections.

Grade: A-

This review is from the 2024 Venice Film Festival. A24 will release Babygirl in the U.S. in December.