Words by JANE CROWTHER
Halina Reijn’s erotic drama has caused a stir at Venice thanks to its frank, female-gaze portrayal of desire and the nuances of power. Though it shares some similarities with Secretary, Fatal Attraction and even Fifty Shades Of Grey, Babygirl is buzzy because it unflinchingly explores the ‘orgasm gap’ between men and women, and paints a picture of a complex, contradictory middle-aged woman’s lust without anyone’s bunny being boiled.
Nicole Kidman stars as tech CEO Romy who has it all together: a loving theatre director husband Jacob (Antonio Banderas), two lovely daughters, two sprawling houses (a Manhattan apartment and a country mansion), the respect of her colleagues and pots of money. A glass ceiling breaker and ballbuster, Romy has no problem asking for what she wants in boardrooms or cosmetic clinics but struggles to do so in bed. Opening on her climaxing astride her spouse, Romy sneaks off to another room post-copulation to masturbate over Daddy kink porn. There, in the darkness, on the floor, her feral orgasm is different and real compared to the performance she has put on for her partner. What Romy presents to her family and the world is very different to what she wants, and even then she’s not entirely sure what that is. Which is why new intern, Samuel (Harris Dickinson) intrigues and shocks her when he seems to instinctively sense exactly what she might need. A bold, self-assured young man who can control a raging dog in the street and tells her ‘I think you like to be told what to do’, Samuel whispers ‘good girl’ to her in a restaurant when she glugs a full glass of milk that he sends over to her table.
Romy is a strong, powerful woman who loves her husband, but she’s also a product of her commune upbringing, horny and looking for validation of some of her darker fantasies. Both personas coexist, the spectrum of sexual need explored as the CEO and the intern embark on a push-pull affair tinged with BDSM but is also vulnerable, protective, needy, greedy, bashful and silly. Romy may kneel to lick a sweet from Samuel’s hand or milk from a saucer at his feet, but she will also cling to him as they sway to George Michael’s Father Figure and cuddle like family in a hotel suite bed. When he gives her her first non-masturbatory orgasm the growl she lets out into a grubby carpet is one of liberation and discovery.
The traditional assumption in this kind of cinematic trajectory is that someone will lose their life (literally or figuratively), that danger is associated with such unfettered hunger. But Reijn confounds expectation by metering out no punishment. Rather the protagonists discover something of themselves and use their individual power to move forward – whether that’s the ambitious exec assistant Esme (Talk To Me’s Sophie Wilde), a collaborative Jacob or Romy herself. The only person getting shafted in this tale is a predatory exec who tries to leverage his power for sex. As Samuel says at one point to another character; ‘that’s an outdated view of sexuality’.
Modern, sex-positive and optimistic, Babygirl is sure to prompt post-credit discussion and possibly even small revolutions in marital beds.
Words by JANE CROWTHER
Babygirl will release in cinemas later this year
