On a Tuesday (discount day at Cinemark theatres!) my friend and I went to see Halina Reijn’s ‘erotic thriller,’ Babygirl. The film stars Nicole Kidman and Antonio Banderas, who need no introduction, as well as Harris Dickinson, newer on the scene, who starred in The Iron Claw (2023), Triangle of Sadness (2022), and Where the Crawdads Sing (2022), to name a few.
Babygirl follows a CEO, Romy (Kidman), who finds herself drawn to a younger intern, Samuel (Dickinson), at her office despite her healthy family life and loving marriage. She jeopardizes the latter two as well as her career by giving in to this attraction–perhaps fueling her desire all the more.
While this was definitely one of the most uncomfortable theatre experiences I have ever had, I was thoroughly entertained due to good performances all around, the fun, upbeat soundtrack, dynamic editing, and the honest, lighthearted exploration / depiction of desire and sexuality, prominent themes in the film.
I cite this film as a highly uncomfortable experience because of the sensual thematic nature of the film. I often found myself completely mortified, my friend and I turning to each other to exchange pained looks amidst our silent fits of giggling. What only added to my discomfort was the sound choices made–intimate scenes were dead silent, with no music or background noise whatsoever. It’s as if the sound editors refused to give audience members a slice of solace, instead making the contents of the scene unavoidable.
However, I did appreciate the soundtrack; the needledrops throughout the film added to the emotional atmosphere. I particularly enjoyed “Dancing on My Own” by Robyn, “Never Tear Us Apart” by INXS, and “Father Figure” by George Michael.
“Dancing on My Own” played during a party scene, the blaring, boisterous music abruptly cut off as a stark transition between scenes was made. “Never Tear Us Apart” played during a well-executed montage–avoiding corniness–of Kidman and Dickinson’s characters’ affair playing out in the setting of their workplace, their stolen glances in public and intimacy in private. In what may be the most notable sequence, Dickinson dances to the “Father Figure” in a hotel room–the lyrics are awfully relevant and the scene amusing and blithe.
Kidman did a wonderful job portraying her character’s cognitive dissonance as she grapples with her desire for Dickinson’s character while continuing to act on her devotion to her family. She elicits empathy from her audience; though she was making morally questionable decisions, I was rooting for her.
Dickinson’s portrayal of the awkwardness and humor present in romantic and sexual settings was very endearing. At times, during sensual scenes, he’d struggle to voice commands or cringe and huff out a laugh at himself. It dispelled some of the discomfort one may feel when watching an intimate scene, as it felt as if the character was experiencing the same awkwardness as audience members.
I don’t know that I would recommend this film, but I don’t regret watching it! It kept me entertained–what more can you really ask for from a movie?
