By Leah Matthews, Third Year Classical Studies
The coalition of one of the greatest actresses of the last 100 years and 2024's biggest heartthrob has been a much-anticipated event, stoked by A24’s persistent marketing. With a raunchy trailer and a slew of preview clips flooding social media, people joked that they had seen the entire film before its release. And, to much disappointment, they weren’t entirely wrong.
Babygirl tells the story of Romy (Nicole Kidman), the CEO of a robotics technology company, as she embarks on an intense affair with Samuel (Harris Dickinson), a young intern. Romy’s seemingly perfect life includes a loving husband, Jacob (Antonio Banderas), two sweet daughters, and a beautiful home—or two. Yet, beneath this veneer of success and stability lies a woman in a state of perpetual frustration. When a handsome young intern begins exhibiting behaviour that would warrant immediate firing in the real world—including audaciously patronising his boss—Romy realizes this dynamic is what she’s been craving her entire life. But you already knew that from the trailer.

Nicole Kidman is, as always, exceptional. Her ability to convey emotional complexity—especially in the scenes where she simulates an orgasm—remains unmatched. Her performance draws on her earlier role in Kubrick’s Eyes Wide Shut (1999), reminding us she is well-versed in portraying a sexually frustrated married woman. The use of bright red blush upon her cheeks, a possible homage to I, Tonya (Gillespie, 2017) and an artificially sculpted face is a stark testament to society’s obsession with youth. Whether the grimacing level of plastic in her face is courtesy of the film’s make-up team, method acting, or Kidman’s personal beauty choice is unknown. Credit is due to whoever sculpted her face into this peculiar emblem of tension, eliciting both winces and sympathy with every close-up.
The film’s most intriguing discourse lies in its portrayal of the unique challenges faced by women in positions of power. Romy’s affair jeopardizes her career in ways that a male CEO’s same indiscretions likely would not- Tony Baddingham in Rivals (2024) springs to mind. This double standard is subtly woven into the narrative, seen in her interactions with Esme (Sophia Wilde), her female assistant, whose patronizing tone underscores the additional scrutiny women face even from members of their own gender. The dynamic with Samuel similarly reflects an uncomfortable truth: women in power are often perceived as unnatural, and Romy’s surrender to Samuel’s dominance in the bedroom may symbolize an unconscious attempt to recalibrate this imbalance.

However, while these themes are present, they remain frustratingly under explored. I felt that a richer examination of Romy’s motivations, why her relationship with sex and power is so fraught, would have elevated the film. Instead, the narrative glosses over her backstory, reducing her complexity to fleeting mentions of her upbringing. The same can be said of Samuel, whose motivations and behavioural explanations are barely sketched out. The result is a story that feels incomplete, missing the emotional and psychological depth needed to make its premise truly resonate.
The relationship between Romy and Samuel begins with jarring speed, undermining the credibility of their connection. What could have been a simmering build-up to a forbidden romance is instead an abrupt leap into implausibility. This rapid escalation detracts from the tension, leaving the viewer struggling to invest in the relationship. Worse still, the film is less sexy than it is uncomfortable. While this discomfort effectively mirrors Romy’s inner turmoil, countless Harris Dickinson lovers have been led on and left frustrated.

Jasper Wolf, a repeated collaborator with director Halina Reijn, delivers cinematography that is serviceable but unremarkable. The soundtrack, consisting of mostly throwback hits from artists such as George Michael and INXS, feels like a misguided attempt to underline Romy’s age, but instead comes off as tacky. Whilst the film’s visuals and audio are proficient, they lack the innovation needed to elevate the material.
Babygirl offers an intriguing premise: a meditation on female power, sexual desire, and the interplay between the two. Nicole Kidman’s performance is a highlight, carrying much of the film’s weight on her capable shoulders. Yet, the narrative’s reluctance to delve into the "why" behind its characters’ actions leaves it feeling shallow. The result is an enjoyable, fast-paced watch that will appeal to younger audiences, but one that ultimately falls short and fails to satisfy audiences' desires. With sharper storytelling and deeper exploration of its themes, Babygirl could have been a masterpiece. As it stands, it’s an entertaining yet flawed film, more memorable for its potential than its execution.
Did Babygirl disappoint, meet, or exceed your expectations?