The Venice Film Festival’s 81st edition turned its spotlight on Nicole Kidman, who stars in the provocative film Babygirl, directed by Dutch filmmaker Halijna Reijn. The film, which competes in the main section, delves into the themes of power dynamics and submission, drawing inevitable comparisons to Fifty Shades of Grey but lacking the genuine transgressiveness of Reijn’s former mentor, Paul Verhoeven. Kidman plays Romy, a high-powered CEO struggling with her own suppressed desires, ignited by a young intern, Samuel, portrayed by Harris Dickinson. Their intense dynamic explores the tension between control and vulnerability, but ultimately, the film struggles to leave a lasting impact.
Romy’s character is a juxtaposition of power and fragility. At work, she’s the epitome of a successful businesswoman, while at home, she’s a perfect wife and mother. However, the arrival of Samuel, with his calm confidence and penetrating gaze, awakens something in her that she has long repressed—a desire to relinquish control and be dominated. Their relationship evolves into a complex game of seduction and power, as Romy grapples with the fear of surrendering to her true desires and the potential consequences on her career and personal life. Despite this intriguing premise, Babygirl fails to fully develop its characters, particularly Samuel, who remains an enigmatic figure despite Dickinson’s strong performance.
Though visually polished and thematically ambitious, Babygirl ultimately falls short in its exploration of modern power dynamics and sexual politics. Reijn’s attempt to portray a liberating vision of female sexuality and control lacks the depth and originality needed to make a profound statement. Nicole Kidman delivers a bold performance, but the film’s superficial treatment of its themes and characters leaves it struggling to resonate with the audience.
