BABYGIRL (2024) – A Thin Plot Draped in Provocative Layers and an Overdose of Kidman

Nicole Kidman, of late, has kept herself busy with movies and TV projects. She seems to be trapped perhaps by choice in playing very similar characters who are beautiful, rich and powerful women. In the film “Babygirl” Nicole is Romy, the 57-year-old CEO of a flourishing company. Despite her successful career and idyllic family life with a loving husband, portrayed by Antonio Banderas, and two young daughters, Romy’s character harbors a hidden desire for a dominant partner, a need her husband fails to fulfill. The narrative introduces Samuel, a 28-year-old intern at her firm, who perceptively identifies Romy’s secret and strategically insinuates himself into her life, offering the escape she craves.

The film’s plot, however, lacks depth and intrigue, seemingly functioning as a platform to display Kidman in various states of undress and engaging in explicit scenes. These sequences often appear gratuitous and exploitative, detracting from the film’s overall impact. The portrayal of such scenes could have been justified had they been integral to the storyline, but they instead come across as crass, unnecessary and often degrading for Nicole to perform.

Hollywood has a history of awarding daring performances, but “Babygirl” fails to provide a substantial narrative or character development to warrant such recognition. Blame it on the unfortunate choice of giving Best Actress Academy Award to Emma Stone in 2024 for her role in Pretty Things where she basically strutted around naked performing various sexual positions. Unfortunately for Nicole Kidman, she is no Emma Stone and she has passed her prime to garner that kind of attention. Besides, the plot of Babygirl is too simple to be passed off as anything serious much less arthouse material.

Additionally, the casting of Harris Dickinson as Samuel is problematic. While Dickinson delivered a commendable performance in “Triangle of Sadness,” his portrayal in “Babygirl” lacks the charisma and intelligence required for his character. This miscasting undermines the credibility of his ability to attract and dominate a strong-willed character like Romy. At least Antonio Banderas came across as the most credible, and he had some good moments to shine in an otherwise underappreciated and underwritten supporting role.

The exploration of Romy’s childhood experiences, which ostensibly shape her current desires, is superficial and inadequately developed. Furthermore, the film suffers from an over-reliance on Kidman’s presence, with her character appearing in nearly every scene, leading to an imbalanced narrative focus.

In conclusion, “Babygirl” struggles with its thin plot and questionable character portrayals, ultimately failing to deliver a compelling or cohesive story. Despite Nicole Kidman’s strong screen presence, the film does not rise to the level of a noteworthy cinematic achievement.