A24 has been on a roll this year through its in-depth exploration of themes about love. From Queer, a captivating adaptation about figuring out oneself, to We Live In Time, which was a heartbreaking experience on its own, A24 never ceases to fail when it comes to romantic movies. This record continues in Babygirl, which is not only a return to thrillers for Nicole Kidman, but also a unique thematic dive. While its premise might not be for the faint of heart, Babygirl‘s thematic ideas of feminine empowerment and sexual dynamics lend themselves for an intriguing narrative. However, with Bodies Bodies Bodies director Halina Reijn at the helm, this film fully explores its ideas as realistically as a euphoric fantasy can get.
Babygirl follows a powerful CEO, Romy Mathis (Nicole Kidman), as she takes on a new group of interns. However, one of them, Samuel (Harris Dickinson), grabs Mathis’ attention in a way that changes her life forever. Slowly yet surely, Mathis begins this forbidden affair with the much younger Samuel as she tries to her two love lives under control.
From its first few moments, the film certainly feels like it’s a facade of what it’s truly hiding. It opens with this very sensual scene where Jacob is unable to satisfy Mathis in bed. From her expressions, it’s clear she wants more as she scrolls through her computer to get herself aroused. Later, Mathis gives this big, pre-written speech about improving her tech company with a more united workplace. It’s all filled with keywords and corporate mumbo-jumbo, but Kidman inserts this repression into Mathis with sincerity. When her bond with her assistant, Esme (Sophie Wilde), is first seen, Mathis’ perspective almost becomes clear as they talk. Her life is purely business and her relationship with her husband, Jacob (Antonio Banderas), feels empty. Eventually, this all changes when Samuel shows up.
Of course, the first scene between them is simple: Samuel’s dog accidentally attacks Mathis on her way to work. It uses that classic romantic trope of crashing into each other, yet Dickinson keeps Samuel completely stone-faced. As such, it’s saying that he’s not giving any signs and he doesn’t want to start something that isn’t mutual. Yet, Mathis’ inner emotions say otherwise, which is captured through the cinematography that makes Babygirl have this quirky undertone. These first non-confrontational interactions between Mathis and Samuel pick up on the usual build-up tropes as he leaves clues behind. However, when they do finally interact, their blossoming relationship begins to feel very one-sided.
Throughout Babygirl, it seems to question whether or not Mathis wants to dominate or be dominated. It’s the classic Shakespeare idea that resonates with this film as the two try to keep their relationship a secret. With each sexual scene between Mathis and Samuel in the first act, it seems very much that these two want each other. For example, there’s one scene where Mathis meets up with Samuel at a bar for the work party, but gets stuck in work. While it may look like she’s focused on her work, the editing really emphasizes how connected she wants to be. Even though Samuel just dismisses her, the film drops another clue afterward signifying otherwise. Furthermore, at one point, Samuel calls Mathis a “good girl”, solidifying that. As a result, this back-and-forth that Mathis and Samuel have proves Mathis as “the dominated.”
Both Nicole Kidman and Harris Dickinson give Mathis and Samuel incredible depth to their respective characters. Remy Mathis moves along a spectrum from empowerment to vulnerability, and Kidman emphasizes both ends wonderfully. As for Samuel, Dickinson makes him go from a somewhat cold dominator to empathetically hesitant in a snap. Both characters, through both actors, insert this dynamic with a complex magnetism that makes one completely hooked.
Over time, this dynamic seems to take a shift and Reijn addresses that with Mathis’ other relationships. In fact, Mathis and Samuel seem to take issue with the fact that the other has feelings for others. Mathis’ marriage to Jacob is already indicative of that and Samuel really doesn’t show much care for that. However, when Samuel decides to get further involved in Mathis’ life, like starting a relationship with Esme, Mathis tries to take charge.
Both Mathis and Samuel really want to take charge of each other and control the situation. As such, this allows for compelling challenges to be create through the dynamic. They set their terms and must live up to those expectations, yet they remain stuck in a morally grey area. With each “obstacle” they face, from leering suspects to workplace threats directed at each other, their resolve is a twisted conflict.
This becomes even more apparent when Mathis’ husband and kids get involved, as Mathis wants to stay true to them. Much like her relationship with Samuel, she seeks to find a sexual validation from Jacob, yet can’t do so because of Jacob’s own personal respect. Banderas really shows the lovable and endearing side of Jacob, being the bright light to oppose Samuel’s shadow. There’s a scene where Mathis indulges into Jacob’s theatrical job and he gives this very sweet dialogue about trying to work things out. However, Jacob truly shines near the final act and the writing around those scenes just feels completely real, albeit with a bit of dark humor.
Furthermore, both kids, Isabel (Esther McGregor) and Nora (Vaughan Reilly), also get to shine. Initially, they appear to be just stereotypical daughters for the audience to sympathize with later on. However, the scenes they share with their mom, Mathis, has this poignant touch. There’s one scene between Mathis and Isabel in their family mansion that really seems to be a test of Mathis as Isabel is trying to figure out her own relationship with her girlfriend. Not only does it have this sympathetic relatability to it thanks to the writing, but the mother-daughter flow remains grounded. Mathis does provide some advice, but she doesn’t know if it’s good enough because she can’t even have a handle on two.
This contemporary blend between Jasper Wolf’s cinematography and Matthew Hannam’s editing really gives Babygirl a refreshing visual style. Every scene has this magical, if explicit, palette with certain environments incorporating different moods. For example, Mathis’ workplace and the woods around her family mansion feels bleak, yet peculiar, as the drab colors maintain this realistic feeling. On the other end, you have this very intimate sequence where Samuel treats Mathis as a dog, both metaphorically and literally. It goes on for more than twenty minutes in this red-hued hotel room that feels intense with all these sensual close-ups. There’s also this other scene in a night club that’s very epilepsy-inducing, but it just evokes that feeling of ecstasy even more. Through Reijn’s intricate directing style, Babygirl is able to keep the audience fully engaged.
Overall, Babygirl is a euphorically gripping thriller that showcases Nicole Kidman’s most passionate performance since Eyes Wide Shut. Kidman and Dickinson are truly amazing and do a great job presenting Reijn’s perspective about sexuality and desire with respect. Furthermore, Halina Reijn transforms all of these ideas into a story that’s emotionally layered and almost avant-garde. Every element, from the down-to-earth cinematography to the editing and performances, makes this story incredibly impactful. As a Christmas gift from A24, it feels very fitting that a narrative about naughty relationships would make its way to the top as a great film to end 2024.
Babygirl releases in theaters on December 25.
