Nicole Kidman’s Daring Return in ‘Babygirl’ at Venice Film Festival

A Bold Return: Nicole Kidman in “Babygirl”

Once celebrated as one of cinema’s most adventurous risk-takers, Nicole Kidman, now 57, has transitioned into a prominent figure in the realm of streaming television. In recent years, she has become synonymous with popular limited series that feel like beach reads, such as “Big Little Lies,” “Nine Perfect Strangers,” “The Undoing,” and “The Perfect Couple.” While these projects are widely viewed and keep Kidman in the spotlight, they often lack the daring spirit that characterized her earlier work with visionary directors like Jonathan Glazer, Yorgos Lanthimos, and Lars von Trier.

However, her latest film, “Babygirl,” marks a thrilling return to form. Premiering at the Venice Film Festival, this A24 production is a daring indie film that re-establishes Kidman as one of the most fearless actresses of her generation. Those who have experienced this provocative and sensual film in Venice are eager to discuss it, and it promises to spark engaging debates when A24 releases it in theaters this Christmas.

Written and directed by Halina Reijn, “Babygirl” opens with a striking scene: Kidman’s character, Romy, faking an orgasm. Romy is a powerful executive who seems to have it all—a successful career, two vibrant daughters, and a devoted husband, played by Antonio Banderas, who cherishes her by day and shares intimate moments with her at night. Yet, beneath this façade, Romy grapples with her true desires. The moment her husband falls asleep, she sneaks into another room, pulls up S&M pornography on her laptop, and experiences a genuine climax.

Despite leading a tech company that thrives on innovation and automation, Romy craves liberation from her meticulously curated life. This yearning leads her to the intriguing office intern, Samuel (Harris Dickinson), who is uncharacteristically bold in their interactions, often flipping the expected power dynamics. Their first encounter occurs outside their office building, where Romy is captivated as she watches Samuel effortlessly calm a frenzied dog, despite his later assertion that he merely fed it a cookie.

• “Do you always have cookies on you?” she inquires, intrigued.
• Samuel playfully retorts, “Yeah, you want one?”

Before long, their flirtation escalates into a steamy affair, with Romy found stuffing Samuel’s tie in her mouth and licking milk off a saucer at his command. However, the abandon that one might expect from their S&M escapades is often marred by Romy’s guilt. She finds herself torn between the thrill of her fantasies and the responsibilities of her public persona as a strong, independent woman.

“Babygirl” encapsulates the dichotomy of desire and duty, and Kidman’s performance is a testament to her ability to navigate the complexities of a character who is both powerful and vulnerable. This film not only challenges societal norms but also invites audiences to reconsider the definitions of power and fulfillment in contemporary relationships.