“Babygirl” sexually humiliates a powerful woman    

As she proves again in writer/director Halina Reijn's "Babygirl," Nicole Kidman throws herself convincingly and impressively into her performances. Indeed, she has already won awards for this role and has received additional nominations. However, those wanting satisfying, analytical psychological insight will have to look elsewhere, for "Babygirl" wallows in soft-porn preoccupation from the first image to the last.

The story itself is simple. Strong-willed, straight-talking CEO of the New York robotic firm Tensile, Romy (Kidman) feels an immediate, irresistible attraction to the new, twentyish intern Samuel, a wily Harris Dickinson. Romy's husband Jacob (Antonio Banderas in a one-dimensional role) loves Romy but, unbeknownst to him and despite his efforts, cannot satisfy her sexually. As established in an early scene, with heavy-handed metaphorical commentary, Samuel can tame the uncontrolled beast, as represented by his subduing a ferocious dog on a Manhattan street. Stunned, instantly captivated, Romy soon becomes involved in a passionate affair with Samuel who dominates and humiliates her. Soon Romy jeopardizes her career, as explicitly stated to her twice in the course of her affair.

The robot driven warehouse business that Romy oversees all but parallels Romy's interaction with her husband, two daughters, and co-workers. She is, as films often love to depict, a powerful woman who has debilitating emotional problems. This permits a two-bit manipulator to reduce her to a soon hysterical, middle-aged executive. Years ago, an academic article argued that assertive, formidable female characters must be driven to either tears or hysteria within the narrative.

Right on target, in a December 16, 2024, New Yorker profile, director Reijn says, "I love writing scenes . . . where the female character is . . . weak, is dark, is wrong." She also acknowledges a fixation on themes of "control and surrender and violence and sex." To be sure, sophisticated, inquiry into sexual dysfunction can be enlightening and entertaining. However, here, the titillating presentation serves merely to destroy Romy's composure and strength; it is exploitive, not analytical or explanatory. Look even at the title. So while it is gratifying to have the sexual vitality of middle-aged women acknowledged, "Babygirl's" offensive representation devoid of complexity and its insulting characterization of this executive can only feel regressive.  "Babygirl" is at cinemas beginning December 25. Check listings.