There’s a decent argument to be made that Nicole Kidman is the single greatest performer working today, as she has been consistently challenging herself with a strong output of film and television roles for well over three decades. Kidman is so routinely excellent that it might be easy to take her for granted, but the buzz for her performance in the erotic drama Babygirl indicated that she was truly doing something radically different. The new film from Bodies Bodies Bodies director Halina Reijn has been building awards momentum ever since it debuted at the Venice International Film Festival, where Kidman took home the prestigious Volpi Cup prize for Best Actress. It would be exciting to see Kidman recognized for what is one of her most vulnerable roles to date, but her co-star Harris Dickinson also delivers an Academy Award-worthy performance in Babygirl.
What Is ‘Babygirl’ About?
Babygirl explores a very inappropriate sexual relationship that emerges between the wealthy CEO Romy (Kidman) and the intern Samuel (Dickinson), who is tasked with assisting her through the company’s mentorship program. Romy has worked hard to achieve her position, and has dealt with the inherent sexism within the business world. After recognizing that she is not satisfied with her husband, Jacob (Antonio Banderas), Romy’s eyes are drawn to Samuel, who keeps flirting with her. Their interactions are initially innocent, but they soon develop into a passionate, forbidden affair that breaks all the company’s rules when it comes to ethics. Romy begins to realize that it is in her best interest to forget the entire ordeal, as she does not want to cause a situation that could have blowbacks for either her company or family. However, Samuel has become adjusted to the power that he has over her, and signifies that he is unwilling to let it go.
Dickinson is able to ensure that Samuel’s intentions are entirely enigmatic, as a majority of the film is told from Romy’s point of view. While it’s not clear how much thought he put into his initial conversations with Romy, the aura of confidence that he exudes suggests that he is used to being able to coast on his charisma. The manner in which Samuel aggressively pines for Romy’s attention is somewhat disturbing at first, but it is eventually revealed that he is simply using the only tools at his disposal to get ahead in a highly competitive business. How America’s business economy works does not allow for significant upward mobility, particularly for someone young and inexperienced like Samuel. Samuel becomes increasingly attached to Romy because he understands that holding something over someone in her position of power may be the only way for him to secure his career. It’s a fascinating dynamic, as the viewer is forced to acknowledge where both Samuel and Romy are coming from, as they are both victims in a way.
Harris Dickinson Is Both Frightening and Charismatic in ‘Babygirl’
Dickinson is able to hold his own against Kidman, which is a difficult task for any actor to do considering her amazing track record. The most challenging aspect of Dickinson’s performance is that he needed to be both utterly charismatic and surprisingly intimidating at points. Initially, there’s something aloof about the way that Samuel refuses to apologize for anything that attracts Romy, as she is used to people being very dishonest in how they present themselves. However, Samuel’s confidence quickly turns to aggression, as he begins to assert himself in situations where Romy isn’t expecting to see him. Although there is never a suggestion that he could commit physical violence towards her, a scene in which Samuel unexpectedly shows up at Romy’s home and visits her family during the holiday is certainly one of the most excruciating moments of 2024.
Dickinson makes Samuel’s ambitions ambiguous, as the film does not suggest that he is trying to be outwardly malicious or disruptive. While Romy is put in many scenarios in which she goes out of her way to achieve revenge on those who have wronged her, Dickinson inserts small, vulnerable moments that serve as a reminder that Samuel is still a young and largely ignorant person. Kidman’s work in Babygirl is certainly an act of cinematic bravery, but it would feel disingenuous to not also recognize Dickinson for taking on a similarly challenging part.
Babygirl is in theaters now.
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