Movie review Nicole Kidman maintains star power in erotic thriller ‘Babygirl’

CEBU, Philippines — Nicole Kidman has been in the industry for four decades. At this point, many actresses would either struggle to land roles or be typecast in one-dimensional supporting parts – often as mothers or even grandmothers. Yet Kidman, 57, continues to grace the big screen in diverse roles.

The Aussie star has defied Hollywood’s expectations for women her age by taking charge as a producer through her production company Blossom Films. Since 2017, she has committed to working with a female director every 18 months to help amplify the visibility of women in filmmaking.

Kidman is a woman of her word. So far, she has collaborated with 19 female filmmakers, with “Babygirl”, written and directed by Dutch actress-director Halina Reijn, being one of the latest. In the film, she plays Romy Mathis, a successful CEO of a robotic process automation company in New York City who longs for more excitement in her sex life.

Distributed by Pioneer Films (a.k.a. Viewers’ Choice Philippines), the A24-produced flick premiered in Philippine cinemas on March 12, exclusively at SM Cinemas with an R-16 rating without cuts given by the MTRCB.

Romy is everything a modern woman aspires to be: a hardworking business leader, a devoted mother, and a wife who seemingly has it all without compromising her family life or career. She embodies the idea that a girl boss can maintain a perfect work-life balance.

There’s just one problem: she is deeply unsatisfied with her sex life, and her husband, Jacob (Antonio Banderas), can’t give her an orgasm.

Enter Samuel (Harris Dickinson), a handsome young intern at Romy’s company. What begins as an inappropriate attraction soon escalates into a full-blown May-December affair.

But don’t mistake “Babygirl” for a sexy erotic thriller. Instead, the film dissects the murky power dynamics between an older woman in a position of authority and a much younger man with a dominant personality. This is shown in the non-graphic sex scenes that aren’t meant to titillate; rather, they highlight the imbalance in their relationship.

At first, Romy resists Samuel’s advances, annoyed by his lack of boundaries. But as the affair progresses, the power shifts. Romy, despite her initial reluctance, begins to exert control over the relationship.

“Baby Girl” captures the complexities of their relationship in ways that go far beyond the shallow portrayals found in some erotic dramas. Reijn’s screenplay encourages viewers to see both sides: on one hand, Samuel’s ego pushes him to pursue Romy at a vulnerable moment, using their relationship to his advantage. On the other, Romy, as a powerful executive, should have known better than to engage in an affair with a younger subordinate –especially while married.

Both perspectives hold weight, and Reijn’s direction presents the topic as two sides of the same coin. However, the film would have benefited from a more measured pacing, allowing key moments to breathe rather than rushing abruptly from one scene to the next.

It’s no surprise that Kidman excels as Romy. She continues to challenge herself and impress viewers with complex, daring roles, a territory she knows well. Dickinson, meanwhile, impresses as Samuel, seamlessly shifting between youthful innocence and calculated ambition.

The supporting cast also delivers standout performances. Banderas brings depth to Jacob, ensuring that Romy’s husband feels like a fully realized character rather than just a narrative device. Meanwhile, Talk to Me’s Sophie Wilde shines as Romy’s assistant Esme, who idolizes her boss to a fault.

However, the film’s true star might just be Cristobal Tapia de Veer’s haunting score. Known for his work on “The White Lotus” and “Smile”, the composer makes tension an omnipresent force in the underlying sexiness and unease of Romy and Samuel’s relationship.

Exploring a physical May-December relationship comes with a heavy price tag, and while “Babygirl” doesn’t tick all of the checkboxes for a perfect erotica, it still impresses with its nuanced storytelling, strong performances, and music score. It’s yet another testament to Kidman’s commitment to championing female directors with bold, thought-provoking stories. Three and a half stars out of five.