★★★★☆

As someone who has spent years navigating the complexities of human relationships and power dynamics through various art forms, I must say that “Babygirl” is a captivating exploration of female psychology, desires, and the intricacies of workplace hierarchies. Nicole Kidman delivers another powerful performance, diving headfirst into a character who, like many women, finds herself torn between societal expectations and her own inner desires.

As a cinephile, I’m thrilled to share that the highly-anticipated film “Babygirl” made its grand debut at the Venice Film Festival! Mark your calendars, fellow movie lovers, as it’s set to hit theaters soon. Don’t forget to add it to your must-watch list!

On occasion, Nicole Kidman has delved into the more complex aspects of sexuality and desire. For instance, she starred in Stanley Kubrick’s exploration of human sexuality, Eyes Wide Shut, alongside her former spouse Tom Cruise. Subsequently, she immersed herself in sensual roles such as in Lee Daniels’ The Paperboy, where the memorable scene of her urinating on a jellyfish sting on Zac Efron’s leg is noteworthy. Her latest venture is Babygirl, a film that delves into the submissive fantasies of a powerful CEO who becomes embroiled with a younger male intern.

As a cinema enthusiast, I’m excited to share that the captivating film “Babygirl” is making its debut in competition at this year’s Venice Film Festival. The movie opens with a bird’s-eye view of my character, Romy (played by Nicole Kidman), lying in bed with her husband, Jacob (portrayed by Antonio Banderas). However, their post-ecstasy moments are fleeting as Romy seeks solace in some personal time, indulging in explicit pornography that portrays a younger woman being dominated by an older man. Later, Jacob expresses his concerns about the current times to their two young daughters, and indeed, they appear to be quite unsettling.

At Tensile, an Amazon-like automated delivery service, Romy finds an opportunity to fulfill her dreams when a fresh batch of interns join the team. Among them is Samuel, portrayed by Harris Dickinson, who captures her attention with his self-assured demeanor. Eager and perceptive, he picks up on something in her during a mentorship session. “I believe you enjoy taking orders,” he suggests, subtly, before seizing the moment to kiss her within the confines of the room.

As Rory struggles to reject another encounter, she finds it difficult to suppress her submissive side that yearns for freedom. In an intriguing sequence, with Rory amidst colleagues in a bar, Samuel purchases a glass of milk for her, leaving her puzzled but ultimately drinking it. He leans close and murmurs, “Good girl,” adding an element of dominance. Later on, we find her in a hotel room, kneeling or standing in the corner, or cleaning up a shattered item. Eventually, Samuel begins to affectionately call his superior “Babygirl”. Their secret word is “Jacob”, a playful reference to her spouse.

If “Babygirl” had been created by a man, justified anger would have arisen, viewing it as exploitative. However, this film, written and directed by the Dutch-born actress turned director Halina Reijn, who also made the 2022 Gen-Z murder mystery “Bodies Bodies Bodies”, shifts the narrative away from humiliating acts in the latter half. Instead, it offers a captivating exploration of female psychology, workplace dynamics, and the complex interplay between men and women.

Romy expresses, “I’m not like other women. I’m unique,” in a heartfelt plea. One could hope that the movie, Babygirl, delved deeper into psychological complexities. However, it’s a polished, skillfully crafted production that balances its mainstream and artistic aspects. Dickinson, played by Kidman’s on-screen partner, delivers an impressive performance, oscillating between infatuation and dominance; the narrative occasionally hints at Fatal Attraction-like intensity but smartly avoids fully transforming 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.

In other parts of the movie, Banderas is given a less prominent role, but he shines in the climax and delivers one of the most memorable lines: “Is female masochism just a male fantasy?” That’s an interesting perspective. It’d be intriguing to hear Lars Von Trier’s thoughts on this, considering he created the two-part film titled “Nymphomaniac“, which explores a woman’s sadomasochistic fantasies.

Reijn skillfully guides the film throughout, noticeably during a club scene where Romy hunts for Samuel amidst pulsating techno music that intensifies, especially that specific sequence.

Significantly, Kidman delivers yet another courageous, daring performance fitting for a movie likely to spark discussions, debates, and even flirtatious banter among viewers.

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2024-09-02 15:05