“Babygirl”

I had a really tough time with the problematic messaging in writer / director Halina Reijn‘s “Babygirl,” a film that pushes boundaries by exploring complicated themes about power, control, and sexual agency. I feel like this project will get an undeserved pass simply because it was made by a woman, but the content is too troubling to simply ignore.

The film tells the story of Romy (Nicole Kidman), a successful executive who embarks on a scandalous affair with Samuel (Harris Dickinson), a younger intern at her company. Things heat up quickly, especially as the young man expresses his affinity for dominating and controlling his boss in the bedroom.

It should go without saying that this is a story that’s packed with uncomfortable subject matter. At its core, the narrative explores an inner turmoil that stems from Romy’s dissatisfaction with her marriage, unfulfilled sexual desires, and longing for something more (not to mention the psychological impact of her untreated trauma). While some may relate to her journey, the way the film shows these struggles is troubling — especially when viewed through a feminist lens. The power dynamics between Romy and Samuel are intense, and while the film attempts to depict them as part of an emotional journey, its incredibly distressing. The way the film portrays manipulation and control in their relationship comes across as dangerously reductive and demeaning, driving home the idea that “no” might sometimes mean “yes.”

The explicit sex scenes are graphic and in-your-face, often verging on humiliating. At their worst, they feel exploitative. One particular montage where Samuel dances to the song “Father Figure” may be unforgettable, but it is especially jarring with a level of discomfort that makes the whole film tough to continue watching. Reijn’s focus on taboo fantasies and the exploration of dark desires may speak to some, but the way these themes are handled is messy and unrefined.

Kidman deserves a lot of credit for her work here, and she delivers an undeniably strong performance. Her character is clearly in need of psychological help, and her portrayal of a woman struggling with emotional and sexual turmoil is raw and captivating. Then again, it’s hard to shake the feeling that her character is trapped in a narrative that diminishes her complexity in favor of salaciousness.

The film seems to want to delve into deeper truths about human nature and the vulnerability, shame, rage, and primal instincts that accompany it, but the way it uses sexual power as a metaphor for sexual liberation feels misguided. The power struggle between Romy and Samuel could have been a fascinating exploration of gender, age, and control, but it ultimately feels like an uncomfortable game of manipulation rather than a meaningful analysis of personal growth and carnal liberation. This is far from a thoughtful exploration of female sexual agency.

“Babygirl” is a dark film that will definitely be talked about, but mostly for all the wrong reasons. It may appeal to those who appreciate boundary-pushing cinema, but the uncomfortable portrayal of relationships, questionable messaging, and the overemphasis on taboo subjects make it a hard one to recommend.

By: Louisa Moore