Could ‘Babygirl’ Have Been Made by a Male Director?

As a film critic who has spent decades watching movies from all corners of the world and from every era, I must say that “Babygirl” is a rare gem that stands out among the sea of contemporary cinema. This Dutch masterpiece, directed by Halina Reijn, offers a unique perspective on female sexuality and desire that is both raw and captivating.

The question posed frequently on discussion forums and social media platforms is: Could a man direct the film “Babygirl,” a gripping corporate drama featuring Nicole Kidman as a powerful executive who secretly desires to be dominated, which she enacts with one of her young male interns? The general consensus seems to be an emphatic “No.” However, I’d like to clarify the question because it actually encompasses two queries. The primary question is: Could a man successfully make this film today? While many agree that the answer is no, implying progress in our cultural landscape, I find myself with mixed feelings about this response.

Halina Reijn’s powerfully crafted film ‘Babygirl’ explores a woman grappling with societal taboos as she acts upon forbidden urges – urges that were once deemed politically or sexually inappropriate, but might now be termed…well, what could we call it? Perhaps, ‘She finds herself attracted to actions society deems unconventional?’ However, this doesn’t quite capture the essence. The film revolves around a protagonist who struggles with the belief that her most intimate desires are morally or socially unacceptable.

It’s crucial to understand that there’s a universal appeal to actions that seem transgressive or taboo within human sexuality. An ancient adage states, “Sex isn’t enjoyable unless it’s a bit naughty.” This essentially implies that the allure of erotic behavior lies in its perceived impropriety or deviance. Each person has their unique preferences (what floats one’s boat). That’s why we have films like “Basic Instinct,” “9½ Weeks,” “Last Tango in Paris,” “In the Realm of the Senses,” “Bound,” “The Piano Teacher,” and “Unfaithful” – movies that explore the seductive power of forbidden sexuality. Similarly, pornography provides a platform for uninhibited exploration of one’s libidinous fantasies, as depicted in Nicole Kidman’s character’s addiction to it in the movie “Babygirl.

Nicole Kidman’s character, Romy, resides in an opulent upper-class family setting, accompanied by a loving husband, Antonio Banderas, and two daughters she adores. This lifestyle is her creation and something she cherishes deeply; there seems to be no compelling reason for her to abandon it. However, it fails to ignite her inner passions. She yearns for personal autonomy over her sexuality, desiring to express every sensual, alluring aspect of it. In the context of movies, which often embody symbolism, “Babygirl” conveys a broader message about women asserting control over their sexuality.

The fact that a female director is involved in the film’s production significantly impacts its portrayal of sexual politics. As Romy and Samuel (Harris Dickinson) embark on their illicit relationship, characterized by power dynamics that are often problematic, the movie doesn’t sensationalize these aspects; instead, it delves into them. The perspective from which the film is presented aligns with a liberated outlook.

Suppose instead of a woman, a man had directed the film “Babygirl”. It might have sparked more debate due to its potentially sensitive nature. However, I believe such a movie would still serve as an excellent catalyst for discussions that are vital in cinema. If we accept that “Babygirl” is not an exploitative film and if the truth of a movie lies in what’s presented on screen, then theoretically, there should be no reason to react differently to the content itself, regardless of the gender of the director.

However, consider this: The film wouldn’t have carried the same impact if it were made differently. The central question about authorship and gender in “Babygirl” can be rephrased as: Could ‘Babygirl’ have been directed by a male director? While a politically charged movie might have resulted, the truth is, a male director wouldn’t have been able to create “Babygirl” as Halina Reijn did. It’s not solely about cultural identity politics; it’s about how the film’s impact comes from a deeply rooted female perspective. Nicole Kidman’s performance is remarkable (in my opinion, the best by a female actor this year), but the role’s intimacy is crucial in allowing such powerful acting. Romy’s gaze into her own longing, which borders on sadomasochism, is more potent because it comes from within her.

As a film aficionado, I find it intriguing to point out how seldom movies delve into this intensely provocative sexual exploration, particularly from a female perspective. Typically, we see it in the heat of sensational pop-thrillers (like “Basic Instinct”). However, authentic erotic films are more like precious and elusive wildflowers. For me, “9½ Weeks,” which director Reijn has mentioned as an inspiration she watched numerous times in her younger days, always felt like a glamorous yet artificial portrayal of transgressive love. “Fatal Attraction,” another Adrian Lyne production (and another influence on Reijn), is superior to “9½ Weeks,” but it leans more towards the boundaries women were establishing, with Glenn Close’s character Alex asserting to Michael Douglas’s unfaithful lover: I will not be used and discarded.

In the hotel room encounter between Romy and Samuel, “Babygirl” embodies the mixed emotions Romy experiences – a trembling oscillation between fear and attraction, as well as the risk involved, which Samuel perceives and amplifies to stir her further. It’s her ultimate release, yet the scene highlights the tug-of-war within her feelings. I find it hard to envision a male director portraying that scene in quite the same manner.

To clarify, while historically, women didn’t have the power to make movies similar to “Babygirl”, denying a male director the chance today feels limiting and counterintuitive. The essence of “Babygirl” lies in breaking free from societal norms, and restricting a movie like that based on the gender of its creator goes against this message. So, while it’s important to celebrate female directors who can bring unique perspectives to such stories, we shouldn’t impose barriers on who can create art.

2024-12-26 23:16

Could ‘Babygirl’ Have Been Made by a Male Director?

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