Film Review: ‘Babygirl’ Takes a Clinical Look at Nicole Kidman Exploring Sexual Satisfaction

Watching an actress get a full cinematic meal to dine out on is exciting. Seeing them absolutely devour material and own it in such a way that you see every bit of their talent on display, it’s truly a pleasure. In the case of Babygirl, the film has Nicole Kidman doing some of her very best work. It’s a challenging role, so to see her own the movie in such a way is really something to behold. The flick itself is good, but she is great.

Babygirl takes a clinical approach as opposed to a lusty one, which gives the film a distance to the intimate material. On the one hand, it prevents the movie from every becoming lascivious or too overtly sexual. At the same time, for being as much an intellectual exercise as an emotional one, there’s a remove that can frustrate. The premise is only explored to a basic degree, which could leave some curious audiences members wanting a bit more. Still, there’s something here to dig into, even if you may wish for more meat on its bones.

Romy (Kidman) is a high-powered CEO with an incredibly successful life. Married to director Jacob (Antonio Banderas), they live with their two daughters, ostensibly acing both work and home life. For Romy, however, something is lacking, namely the ability to have an orgasm with her husband. That dissatisfaction has just been buried within her, likely driving her to some of her corporate success. Then, when the new slate of interns is presented to her, someone catches her eye in a whole new way.

As soon as Romy sees Samuel (Harris Dickinson), he has her attention. The feeling is mutual, though he expresses it in a very unique manner. Both frustrated and attracted, she can’t shake him, much as she might want to. Eventually, a sexual relationship begins, though they have very different ideas about what this torrid affair is and what it means. For Romy, it’s an opportunity to explore her sexuality in a way that she hasn’t before. For Samuel, is it a game? A way of life? Something more? She’s not sure, which potentially puts everything she has at risk.

Nicole Kidman has rarely been better, while Harris Dickinson nearly matches her. Antonio Banderas is no slouch, either, making the most of a fairly basic character. Kidman and Banderas together is inherently interesting, so seeing them here as a troubled couple is certainly engaging. Kidman and Dickinson, however, have a unique chemistry that allows you to buy into this affair. Dickinson plays the character almost single-mindedly, which contributes to the clinical nature of it all. Kidman is where the emotions reside, especially as she first begins to navigate the situation. Supporting players here include Esther McGregor, Vaughan Reilly, Leslie Silva, and Sophie Wilde, but Babygirl is Kidman’s show.

Filmmaker Halina Reijn makes Babygirl a very different work than Bodies Bodies Bodies, but at the same time, it’s not hard to see that this is the same writer/director at play. Reijn is clearly fascinated by the premise, as well as her central characters, so there’s a lot more discussion of things than you might realize. It’s hardly a sex-filled film, even if it’s an overtly sexual one. Moreover, the movie is not meant to be sexy, either, which is clear from the clinical approach. While I do wish the script dug a bit deeper, her direction is quite good, both in terms of how it captures the cast and in the very fun soundtrack selections.

Babygirl is good, not great, but Nicole Kidman sure is. That alone is enough to warrant a recommendation, though when you factor in Antonio Banderas and Harris Dickinson, the acting is sure a highlight. The premise behind the film is also excellent, even if it’s not explored as fully as it could have been. Still, this movie is well worth seeing, especially if you’re a Kidman fan, as she’s at the top of her game.

SCORE: ★★★