‘Babygirl’ Explores Power and Ambition, but at What Cost?
By Natalie McCarty
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As one Letterboxd reviewer aptly noted, "It’s been 25 years since Eyes Wide Shut, and Nicole Kidman has once again let her Christmas freak flag fly." In Babygirl, director Halina Reijn’s latest foray into the provocative, the star steps into the role of Romy Mathis, a tech CEO whose life unfolds like a Rorschach test of ambition, morality, and power.
Despite flashes of brilliance in its performances and structure, the film ultimately leans too heavily on sensationalism, mispackaging itself as a narrative about freedom when it’s more a convoluted meditation on bent morals.
At its core, Babygirl is about power: how it’s cultivated, wielded, and exploited, particularly in the realm of heterosexual dynamics. Romy Mathis, portrayed with icy command by Nicole Kidman, is one of the most visible female CEOs in recent cinematic memory. But despite her status and control, the film reduces her story to one primarily centered on sex, as if her ambition and intellect alone couldn’t drive the plot. The narrative suggests it’s exploring the complexities of her world, yet it continually undermines her autonomy by framing her through the lens of male desire and moral ambiguity–though I know many will argue it was a “feminist narrative of liberation.”
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Kidman delivers a searing performance, with moments of dialogue or truth that definitely did resonate. Her line, “You’re confusing ambition with morality. They’re very different,” encapsulates much of the film’s thematic ambition. It’s a statement that could have anchored a deeper, more nuanced exploration of Romy’s psyche and the societal expectations placed upon powerful women. Instead, the film uses this dichotomy as window dressing, failing to meaningfully interrogate the systems that shape and constrain its protagonist.
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Reijn’s handling of structure is undeniably impressive. The film is meticulously paced, with each scene building tension that mirrors the razor-thin line Romy walks between control and turmoil. But this structural precision often feels at odds with the lack in storytelling.
The whole movie leads up to a climactic arc, yet painfully fizzles out—or, as I said to a friend, “the movie about climaxing has no climax.”
Babygirl has the makings of a great film but often feels more like the concept of one.
One of the film’s saving graces is Harris Dickinson as Samuel, a character whose punchy presence injects energy into the narrative. Dickinson, reminiscent of his early work in Postcards from London, delivers a performance that feels both elevated and precise, effortlessly balancing the character’s charisma and underlying volatility. At this stage in his career, it’s gratifying to see him take on a role that showcases his range and magnetic screen presence.
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However, the writing surrounding Samuel presents a major complication. The character exudes intrigue—his motives, complexities, and the essence of who he is beyond the surface trope beg to be explored. Yet, the screenplay falls short, leaving Samuel underdeveloped and disappointingly one-dimensional. This lack of depth is all the more frustrating given Dickinson’s remarkable performance. Both he and Nicole Kidman bring a wealth of talent to their roles, but the material fails to rise to their caliber, leaving audiences longing for a narrative that matches the brilliance of its cast.
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And yet, Babygirl struggles to reconcile its disparate themes. It promises a story of liberation but delivers one that feels trapped within the bounds of its own sensationalism.
The film’s attempt to explore freedom and agency is overshadowed by its fixation on shock value, leaving its supposed commentary on power dynamics feeling hollow.
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There’s an inherent tragedy in Babygirl’s failure to fully realize its potential. In a cultural moment where powerful women in film are often relegated to the margins, the choice to center Romy Mathis is significant. But by making her story so deeply intertwined with sex and scandal, the film undercuts the very progress it seems to celebrate.
Ultimately, Babygirl is a polarizing experience. For all its ambition and moments of brilliance, it stumbles in its execution, feeling less like a daring exploration of power and morality and more like a misstep in trying to say something profound. It’s a movie that will undoubtedly spark conversation, but perhaps not for the reasons it intended.
