The Anti-Everywoman

As a longtime admirer of Nicole Kidman’s acting prowess, I find her recent body of work to be nothing short of captivating. Her ability to embody complex characters grappling with societal expectations and personal desires is nothing short of mesmerizing.

For the first time in the film Babygirl, high-powered tech CEO Romy, portrayed by Nicole Kidman, encounters Samuel, the intern who will become her lover. As Romy walks to work, an unruly dog owned by someone else dashes towards her. Quick on his feet, Samuel calls the dog back and gently pats it, saying “Good girl.” This simple act leaves Romy astonished, as if she’d been struck by lightning. Unlike what you might expect from a character overwhelmed with desire, Kidman’s Romy freezes in place, her mouth agape and eyes wide open, resembling someone who has just learned they have only a month left to live. Despite her polished pearl-gray attire that signifies her success as an executive with a flawless personal life, the look on her face in this moment is almost comical due to its unexpectedness. This unconventional choice for an erotic introduction emphasizes not the sensuality of the encounter, but rather how taken aback Romy is at discovering herself vulnerable to the sight of Samuel petting a dog.

Generally, when an actress begins to be cast predominantly in roles as wives and mothers, it often signifies that she’s approaching the boundaries of the industry’s narrow creativity and her chances for engaging roles are diminishing. However, contrary to this trend, Nicole Kidman has been more prominent than ever in 2024, masterfully portraying diverse adaptations of the dissatisfied matriarch. Kicking off the year with Lulu Wang’s miniseries Expats, about Americans living in Hong Kong, she teamed up again with her co-star from The Paperboy, Zac Efron, for the Netflix romantic comedy A Family Affair in June. She returned to Netflix a few months later for another miniseries, The Perfect Couple, an adaptation of one of Elin Hilderbrand’s beloved novels. She’s also reprising her role as a high-ranking CIA official in season two of Paramount+’s Lioness, a part of Taylor Sheridan’s expanding television empire. Babygirl, written and directed by Halina Reijn, is due out this month. This wide array of projects, ranging from prestige dramas to provocative A24 films, might appear diverse. But regardless of whether she’s the ruthless leader of an intelligence agency or a popular novelist adored by many, Kidman consistently portrays a woman who strives to uphold an image of perfection both at home and in public life.

As a movie enthusiast, I’ve always admired Nicole Kidman for her unique presence on screen. Standing tall and willowy, she embodies the essence of vanilla ice cream in her distinctive shade. However, she’s never been your average Everywoman. Her traditional Anglo beauty, often assumed to be enhanced by cosmetics, is timelessly preserved in a stillness that defies age.

In a departure from her previous work, Nicole Kidman stars in “A Family Affair,” where she delves into creating a semi-unconventional on-screen relationship. Despite being written by Richard LaGravenese, who brought us “The Bridges of Madison County,” the film doesn’t quite live up to the algorithmic finesse one might expect. Kidman portrays Brooke Harwood, a widowed mother raising her daughter Zara (Joey King). However, Brooke appears more like a woman who still embraces her desirability than someone who has forgotten it, donning elegant knits that emanate quiet elegance rather than casual comfort.

In “The Perfect Couple,” Nicole Kidman portrays Greer Garrison Winbury, a character who blatantly discards any semblance of normalcy. Residing on an estate in Nantucket with her aristocratic husband, Tag (Liev Schreiber), and their three sons, Greer’s overly refined demeanor borders on drag-like presentation. With her crown of golden curls, penchant for silk blouses, floral dresses, and satin bathrobes, she meticulously guards her family’s reputation with unyielding determination, constant vigilance over appearances, and a stack of non-disclosure agreements.

In “The Perfect Couple,” Nicole Kidman’s character, Greer, continuously delivers a performance that never ceases, even when she’s by herself. She spends numerous scenes gazing thoughtfully out of windows overlooking the water, frequently wrapped in a bulky cardigan, and dramatically hides her face when faced with unsettling memories. In a low whisper following a tense interaction with her son about his potential wife, Kidman mutters, “Goddamn it, Greer, shut up,” to herself in a dramatic fashion. These actions are primarily directed towards us, the viewers, and their self-conscious nature suggests that Kidman is intentionally addressing us — an indication that while we’re meant to believe Greer is unhappy beneath her polished exterior, even her portrayal of misery appears inspiring.

In a unique portrayal, Babygirl finds Nicole Kidman showcasing her boldest interpretation of a woman struggling to maintain an idealized facade while suppressing personal desires. As the head of a tech company, Kidman embodies a corporate version of high femininity with delicate blouses and stylish updos. Romy, on the other hand, aspires to establish a more inclusive and enlightened leadership style, which is reflected in her harmonious marriage with theater director Jacob (Antonio Banderas), producing two children and numerous intimate moments filled with intense eye contact. Samuel, the intern, might be attractive, but his allure lies in his conviction that she desires to be dominated, a notion she repeatedly denies. Kidman skillfully plays out their intricate dance for humor, turning professional interactions into a clumsy waltz of office protocols and an unexpected kiss that seems to offend her initiator.

As a cinephile, I’ve recently found myself captivated by another film starring Nicole Kidman, where she embarks on an unusual relationship with a younger man. Unlike the previous films I’ve seen, this one isn’t primarily driven by carnal desires, but rather, it delves into the complexities of societal expectations and personal hang-ups.

2024-12-04 16:54

The Anti-Everywoman

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