Even after decades of television and film roles, Nicole Kidman continues to surprise and urge her viewers to take a second look. The actor further claims her stake as one of the most adventurous and fearless actors of her generation with her latest turn in Babygirl. Written and directed by Halina Reijn, this is a film that rises to the occasion because of the sublime gifts of the actor- who bares all, physically and emotionally, to play a woman entangled in an illicit affair with a young man at her workplace. It is sexy, dangerous and darkly funny, and Kidman makes it worth watching every second. (Also read: Ahead of Babygirl, watch Birth: Another Nicole Kidman entry that debuted at Venice Film Festival)
The premise
Nicole stars as Romy, a highly successful businesswoman who has a perfect life from the outside. Juggling between her Manhattan apartment and a bungalow outside the city, she seems to have it all. She is a devoted mother to her two daughters Isabel (Esther McGregor) and Nora (Vaughan Reilly); and a grateful wife to Jacob (Antonio Banderas), who works as a theatre director. What no one knows is that she is not so grateful for the sexual dissatisfaction with Jacob- a fact that is dropped right in the opening sequence.
At work, she is the boss, meeting the demands and expectations of her desk with icy-cool confidence. Esme (Sophie Wilde), her secretary, is helpful in that regard. The crisis occurs when a young and charismatic intern named Samuel (Harris Dickinson, utterly fantastic) arrives like a shot in the dark. He is upfront and sly, often hinting that he is somewhere far ahead of what is perceived of him. He enlists her as the ‘mentor’ through the company’s program and does not waste time telling her that she likes to be ‘told’ what to do. They kiss in a moment of suddenness right after.
What works
Romy knows this is wrong and whatever happened between them must end right there, and yet this will transpire into an intense and complicated affair. Once Romy submits, she does not even know what she wants. She has always held the dominant position, both at home and work- but this time she is down on all fours as Samuel instructs, moving as if her entire body is bound by some dangerous magic trick. Halina stages these scenes with a sharp focus on Kidman’s face and with the urgency of an independent feature. This works in the film’s favour as Romy’s illicit desperation works in severe contrast to the luxurious comfort of her life that she throws for a toss.
Babygirl is sensational in the manner it which it confronts female desire free from any puritanical notions of moral signals. This is a portrait of a woman who is asking for power but also powerlessness, who wants to be free of any boxes of femininity and desire. Halina touches upon the intricacies of workplace dynamics with a wicked sense of humour- a scene where Romy drinks a glass of milk in front of other colleagues that is offered by Samuel is instantly iconic.
Nicole Kidman stuns
However, with all things in its favour, Babygirl is sadly not devoid of issues. The third act pales in comparison to the promise of the danger with which the film begins, certainly because it wants to avoid punishing its female protagonist too much. It feels rushed and uncannily safe, which might not add up with the thorny pleasures which worked in its favour this far. The film becomes compliant and composed as opposed to the defiance and recklessness of its characters. I was reminded of the remarkable daring shown in the way Aparna Sen‘s Bengali film Parama (1985) handled its protagonist’s actions in a similar situation. That mobility is missing here.
It is Nicole Kidman who rises to the occasion to anchor Babygirl, even in its most shaky bits. The actor’s performance here is simply miraculous- so open and raw and intense. She infuses Romy with a devastating mix of existential crisis and carnal pleasure, providing a psychological depth that is absent in the writing. What does Romy want? Can’t she realize the consequences? That’s the entire point of Babygirl; it wants to let go of these limits and push her to the wall. Kidman peels off layers of clothing and vulnerability, baring it all in search of the answers. Perhaps she does not know it herself, too. But as long as Romy is asking, Babygirl insists that we pay attention.
