4.0 out of 5 star rating
As a seasoned movie enthusiast with a penchant for the unconventional and a keen eye for artistic exploration, I must say that Babygirl is a captivating masterpiece that delves deep into the complexities of human desire and power dynamics. Nicole Kidman’s portrayal of Romy, a high-powered CEO grappling with her submissive fantasies, is nothing short of mesmerizing.
At various points in her career, Nicole Kidman has delved into more complex aspects of sexuality and desire. For instance, she played a pivotal role in Stanley Kubrick’s erotic journey, Eyes Wide Shut, alongside her former spouse Tom Cruise. Later on, she immersed herself in sensual scenarios in Lee Daniels’ The Paperboy, notably the memorable scene where she urinates on a jellyfish sting on Zac Efron’s leg. Her latest project, Babygirl, sees her returning to the screen, this time portraying a CEO who harbors submissive fantasies and becomes involved with a younger male intern.
Debuting at this year’s Venice Film Festival, the movie “Babygirl” opens with the camera gazing over Kidman’s character Romy in bed, who is on top of her husband Jacob (Antonio Banderas). However, their moment of bliss swiftly ends as Romy rushes off to seek solitude, engaging in a private moment of self-pleasure involving explicit pornography featuring a younger woman being controlled by an older man. Later, Jacob expresses his concerns about the current times to their two young daughters; indeed, they are troubling times.
At Tensile, an organization similar to Amazon but specialized in automated delivery services, a fresh batch of interns arrives. Among them is Samuel, portrayed by Harris Dickinson, who captures Romy’s attention with his self-assured demeanor. As their paths cross during a mentorship session, he intuits something within her and makes a bold move, stating suggestively, “I believe you enjoy taking instructions,” followed by a surprising kiss in the same room.
As Rory struggles against the urge for another encounter, she finds it challenging to resist due to her concealed submissive nature yearning to surface. In an intriguing episode, with Rory among coworkers at a bar, Samuel requests a glass of milk for her. Astonished, she still drinks it. “Good girl,” he murmurs, adding a hint of dominance. Later, we witness her in a hotel room, either on all fours or standing in the corner, or cleaning up a shattered item. Eventually, Samuel begins referring to his superior as “Babygirl”. Their secret word is “Jacob”, a playful wink towards her husband.
If a man had created Babygirl, there would undeniably be uproar over its exploitative nature. However, the movie’s female writer-director, Halina Reijn, offers a fresh perspective by shifting the narrative away from humiliating acts in the latter half. Instead, we are treated to an engaging exploration of female psychology, workplace dynamics, and the complex interplay between men and women.
Romy laments, “I’m not like other women, I’m unique,” she mourns. The movie, Babygirl, hints at delving deeper into psychological extremes, but it stops short, maintaining a balance between its commercial and artistic elements. Kidman’s partner, Dickinson (the charismatic male model from the Cannes-winning Triangle of Sadness), delivers an impressive performance as a lover who oscillates between infatuation and dominance. The film occasionally leans towards the territory of Fatal Attraction, but it wisely chooses not to fully transform into a thriller.
The music choices further enhance the story, especially INXS’ Never Tear Us Apart and George Michael’s sultry tune Father Figure, a song that slightly plays on the ‘Daddy’ issues that Romy latently has.
As a cinephile, I must admit that Antonio Banderas is somewhat underutilized in this film with a more subdued role initially. However, he truly shines in the climax and delivers one of the most memorable lines: “Is female masochism just a male fantasy?” That’s an intriguing thought. I can’t help but ponder what Lars Von Trier, the director who crafted Nymphomaniac – a two-part exploration of a woman’s complex sadomasochistic fantasies, would say about this statement.
Throughout the film, Reijn skillfully guides the narrative, noticeably in a club scene where Romy, on a quest for Samuel, moves to pulsating techno music that resonates powerfully, with this sequence being especially noteworthy.
Significantly, Nicole Kidman delivers yet another fearless, daring performance that suits the movie’s provocative nature, making it likely to spark discussions, debates, and romantic banter among viewers.
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2024-08-30 21:04