Babygirl

Risk and bondage are seldom as playful as they are in Babygirl.

This back and forth between assuredness and doubt also makes “Babygirl” a refreshing look at BDSM and questions of consent and desire. Reijn is unafraid to have her characters play out all the wobbles that come with negotiating one another’s boundaries, reinforcing how pleasure comes from good communication. That the Dutch director manages to do so while crafting some of the hottest sex scenes in a major film in years and without dropping the ball in pacing this satire on the era of the politically correct feels almost impossible.

Boasting an exceptional Nicole Kidman performance as a woman recklessly in search of who she is and what she wants—as well as the orgasm that she’s long coveted—it’s a thrilling and amusing shot of cinematic Viagra.

For Reijn, nothing is off-limits. Reijn is already aware of the criticisms that will and have already been levied on this film, and she’s laughing with cinematic spunk and a robust authorial presence.

The more interesting drama of Babygirl is watching Romy and Samuel try to figure out what they can get away with under the watchful eyes of her family, her human resources department, her ambitious office underling Esme (a terrific Sophie Wilde) and, more importantly, with each other.

What is decidedly clear, consistent, and declarative in the film is the force of seeing Kidman venture down yet another new avenue, tossing self-consciousness out the window (or, maybe, just laying it aside for a while) to help realize Reijn’s curious vision.

At a different time, I might have been more inclined to entertain Reijn's proposition seriously. But it's just her luck that the great Catherine Breillat, who has devoted her illustrious career to investigating these taboos, dropped a far superior film on the same subject matter, Last Summer, just a few months prior, beating Reijn to the finish line.

great movie and really surprised me in the best way possible. It deserves any and all awards it gets because that was beautiful ️

the other version of 'fifty shades of grey' a24 usually has me in its pocket, though this time i’m caught somewhere between fascination and indifference. its latest offering proves that a strong connection doesn’t always require extensive romantic development… although here, it’s the physical intensity that takes center stage. the script wavers between subtlety and impulse, achieving moments of genuine tension but sometimes falling into a repetition that wears down its impact. still, there are performances that surprise, and others that, while not at their peak —like nicole kidman, whose high point for me remains the others— manage to bring to life characters with more depth than they initially reveal. although there isn’t much character development, i have to say i liked how they are built; it leaves you wanting to keep watching them despite the plot. visually, it’s elegant. there are shots that play with the viewer, hiding more than they show and letting the imagination fill in the gaps. there are also flashes of well-handled themes: a strong female presence, an unexpected character that adds to the whole, and an ending so decisive it almost redeems everything that came before. a cast that could be considered inclusive, but doesn’t overshadow the film or ruin it, like in the little mermaid. it’s not a work that makes it onto my personal favorites list, but i have to admit that, even with its imbalances, it stands a step above other productions treading similar ground… yes, even those that made a certain story of a similar tone so famous ('50 shades of grey')

A movie about 2 extremely messed up people. Hard to not watch to find out what happens to characters with little appeal to the viewer.

Babygirl (2024) is a major misfire. Marketed as an "erotic thriller," it fails to deliver on both fronts, offering instead a sluggish and disconnected plot with awkward performances. Nicole Kidman’s portrayal of Romy feels unconvincing, and the lack of chemistry between her and Harris **** makes their dynamic painfully forced. The film drags, never building any real tension or excitement. Ultimately, Babygirl is a missed opportunity that leaves viewers frustrated and unimpressed.

Without a doubt, Nicole Kidman delivers a remarkable and outstanding acting performance in this film. The same applies to Antonio Banderas. However, this achievement is counteracted by the almost grotesque layout of the figures and characters. The story and script give the impression that this film was all about the iconic Nicole Kidman. Everything else about it seems constructed and unbelievable. Harris **** in particular seems to be caught in this trap and overwhelmed by the role and the film partner. One can assume that the film and the director Halina Reijn have the well-intentioned intention of making a film about the sexual liberation of women. In my opinion it wasn't successful because the characters portrayed simply don't fit in.