The premise? Provocative. The cast? Stellar. The potential for its themes? Huge. But Babygirl did not quite stick the landing for me.
Directed by Dutch filmmaker Halina Reijn (Bodies Bodies Bodies, Instinct), this film dives into familiar territory for her: exploring complex, morally charged relationships. Her previous works touched on themes like the complicated dynamic between a psychologist and a sex offender in Instinct, and the chaos of privileged twenty-somethings in Bodies Bodies Bodies. So, it is no surprise Baby Girl is ambitious in tackling power, submission, shame, and desire. The problem is, ambition is not always enough.
Nicole Kidman stars as Romy, a high-powered New York CEO who seemingly has it all—career, husband (Antonio Banderas plays Jacob, a swell stage director on Broadway), two young daughters, and a luxurious lifestyle. Her world is turned upside down when she meets Sam (Harris Dickinson), a magnetic young intern who seems to know exactly what she wants, often before she does. Their first encounter? Sam taming a wild dog on the streets of New York with a cookie he just happens to have on hand. Subtle? Not quite.
From here, the film unravels into an erotic game of cat and mouse, fueled by Romy’s suppressed desires, some unresolved problems from childhood (she grew up in a cult, by the way), and Sam’s almost supernatural ability to manipulate and dominate. There is plenty of sexual tension, fantasy, and moments that feel more animalistic than human. But the repetitive narrative drags, and by the final act, it feels like the movie is throwing everything at the wall to see what sticks—therapy, childhood trauma, guilt, shame, consent, workplace abuse, women supporting women, etc.
Let’s give credit though, where it is due: the cinematography by Jasper Wolf (Monos) is stunning. His use of movement and blur-focus—especially in intimate moments, like the rooftop scene where Romy is left alone after a fight—creates a poetic, almost dance-like flow to the visuals. Even mundane office scenes feel alive, thanks to his dynamic and sophisticated camerawork.
Source: After Credits
The production design by Molly Mikula (Django Unchained) and costumes by Kurt and Bart (Stoker, The Hunger Games) deserve a shoutout too. Romy’s wardrobe tells its own story, reflecting her controlled exterior and inner turmoil. From the sleek New York apartment to the family’s idyllic weekend house and even the dingy motel room, every setting feels meticulously crafted to add to the narrative.
And, of course, the performances. Nicole Kidman brings her A-game, even when the material falters. She embodies Romy’s contradictions—powerful yet submissive, confident yet vulnerable—with a grace that elevates the film. Antonio Banderas is underused but solid, and Harris Dickinson walks a fine line between charming and creepy.
The script is where things really fall apart. The first third of the movie is cringeworthy, with dialogue that feels like it was written by a Fifty Shades of Grey fanfiction writer. Sam’s manipulations are not seductive—they are just unsettling. The pacing is uneven, and the themes, while interesting, are underexplored or introduced far too late.
For instance, suppressed fantasies and the lasting impact of guilt and shame are compelling ideas, but they are thrown into the mix without enough depth or cohesion. The Hedda Gabler parallels feel half-baked at best.
And then there is the score by Cristobal Tapia de Veer (White Lotus), which relies heavily on gasps, moans, and animalistic sounds. While effective in small doses, it quickly becomes overbearing. We get it, this story is about desire, and if one happens to be having sex then one tends to gasp and moan. Thank you for the information, copy that.
While Babygirl tries to be bold and provocative, it ends up feeling overcooked and unfocused. The erotic psychological thriller genre has given us gems like Don’t Look Now and Basic Instinct, but this one does not quite measure up.
That said, there’s undeniable artistry in the visuals and performances. If you are a fan of Halina Reijn’s previous work or enjoy movies that push boundaries (even when they miss the mark), it might be worth a watch.
In the end, Babygirl left me wondering: what exactly was this movie trying to say? And, perhaps more importantly, why didn’t I just watch porn instead?
You can watch Babygirl at your local movie theater, on Prime Video or Apple TV.
~ by Dora Endre ~
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