Babygirl

 

“Good girl.”

Dangerous, tumultuous and tragic, Babygirl is a torrid erotic thriller driven by a courageous and vulnerable Nicole Kidman, with strong supporting performances from Antonio Banderas and Harris Dickinson, in a striking exploration of power and femininity that sharply examines control, intimacy and morality. 

Discussion Points:

Babygirl is not as graphic as other recent films, nor does it go to as many dark places, but its still a dangerous and thrilling exploration of intimacy and power that allows Nicole Kidman the opportunity to explore a lesser seen vulnerability than we might be used to. Far from the powerful and commanding women she’s known for, Kidman’s Romy is impulsive, and takes increasingly extreme risks leaving herself vulnerable. Harris Dickinson is the controlling force in her life whose orbit she becomes entrapped within. He’s an enigmatic and complex young man, but lopsided in maturity, capable of power but also susceptible to emotional outbursts. Their instability contrasts with the calming, sensitive and caring nature of Banderas’ Jacob, whose love grounds his wife despite her erraticism. But beyond the performances, the film is also far funnier than one might expect. Not in a constant comedic sense, but in darkly comic and uncomfortable sense - you find yourself laughing to release the awkward and uneasy tension that steadily builds. The film also has great music with a fantastic score and some inspired needle drops. A raw and unexpected film that surprised me and prompted my empathy as I sorrowed for Romy and her brokenness. Deeply tragic despite its love.