As a seasoned cinephile with decades of movie-watching under my belt and a penchant for the unconventional, I find myself at a crossroads regarding “Babygirl”. Halina Reijn’s attempt to explore sexual freedom and power dynamics feels like a misguided journey through a minefield of eroticism and thrills.
In “Babygirl,” filmmaker Halina Reijn aims to deliver a powerful message, yet ends up faltering, as this erotic-thriller fails to live up to its genre labels – neither titillating nor tense. This puzzling misstep seems to touch upon themes of sexual liberty and power struggles. Regrettably, instead of articulating any deep insights, it veers off into an explicit love story that seldom ponders over repercussions and ramifications. Worse still, it wastes the talents of three remarkable actors in the process.
In a captivating portrayal, Nicole Kidman fully immerses herself in the role of Romy Mathis, a prosperous CEO at Tensile Robotics, revealing every layer of her character. Similar to many affluent individuals, Romy shares a luxurious lifestyle with her faithful spouse Jacob (Antonio Banderas) and their two daughters, residing in a grand home. However, there’s a secret side to Romy – one that is unconventional and at times, peculiar – which gradually unfolds as the narrative progresses, adding intrigue to her character.
Reijn seems to be seeking a different perspective, and a movie with deeper insights could potentially question established views on these topics. However, “Babygirl” delves so superficially into its subject matter that it’s challenging to look past its heavy-handed messaging and internal inconsistencies. In an attempt to steer clear of sleazy connotations, the film passes judgment in various directions. This leads to an ending that feels completely unearned.
Romy’s imaginative, inappropriate thoughts become intertwined with real life when she encounters Samuel (Harris Dickinson), a flirtatious new intern at her workplace. Not long after, the highly educated and astute businesswoman starts acting impulsively due to her growing attraction towards him. The film then follows the story of Romy and Samuel’s forbidden relationship, which initially plays out like a game of sexual seduction with elements of cat-and-mouse. However, this game soon transforms into several explicit encounters.
In an effort to maintain secrecy, Romy expresses occasional worries about potential repercussions, particularly concerning her job and at times her family. Reijn, however, is diligent in shielding Romy from blame. The film’s perspective on this issue is perhaps most succinctly summarized by Samuel’s condescending remark as “an outdated notion of sexuality“. In the movie “Babygirl”, society is predominantly held responsible for the predicament. It’s the prejudices, the moral norms, and even Jacob shares some blame in this regard.
Boasting the acting prowess of Nicole Kidman, Harris Dickinson, and Antonio Banderas, “Babygirl” had the potential to deliver a sharp and provocative erotic thriller. Regrettably, it opts for a worn-out plotline and provides a flat exploration of sexual freedom. There is an undeniable spark between Kidman and Dickinson, but their chemistry wanes as the steamy scenes devolve into sensationalism. It’s unfortunate given the caliber of performers involved.
The main issue with the film is its lack of depth in character development, relationships, motivations, and themes, making them seem weak and insubstantial. Given the film’s arrogant stance and accusatory tone, a more sophisticated and comprehensive approach could have provoked deeper thought. Unfortunately, “Babygirl” falls short, resembling those cheap rental movies that were often found gathering dust on the back shelves of local video stores.
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2024-12-23 18:56