The long-awaited film, Babygirl, finally hits cinemas, bringing with it a blend of complexity, sensuality, and intrigue. The film stars Nicole Kidman as Romy Mathis, a successful CEO seemingly living a perfect life with a loving husband, a beautiful home, and successful career. But what appears to be a dream life begins to unravel when Romy embarks on a secretive affair with a young intern named Samuel, played by Harris Dickinson.

While the plot may seem familiar at first, Babygirl takes an unexpected turn right from the start. The film opens with Romy’s loud orgasm, setting the tone for a provocative exploration of sexuality. However, this initial scene is revealed to be performative, quickly leading to a raw, authentic portrayal of Romy’s sexual experience. The shift raises many questions, and the film delves deep into the complexities of guilt, self-worth, and self-acceptance. It’s an exploration that director Halina Reijn, a seasoned actor-turned-director, holds dear as part of her own journey of understanding her dark sexuality.

The Deep Dive into Sexuality

Reijn’s portrayal of a woman struggling with the guilt tied to her sexuality is a central theme of Babygirl. The director explains that this exploration comes from her own experiences, acknowledging how difficult it is for women to embrace their sexual desires without feeling judged or ashamed. “That’s what I suffer from,” Reijn admits, explaining that this movie was her attempt to confront and navigate those feelings. Yet, despite making the film, Reijn shares that she doesn’t feel it has solved anything for her personally, highlighting the ongoing nature of this internal struggle.

The story draws inspiration from classic characters like Henrik Ibsen’s Hedda Gabler, a character who, trapped in a stifling marriage, turns inward and becomes destructive, ultimately seeking to destroy everyone around her. Reijn, who portrayed Hedda Gabler on stage, reflects on how the role gave her freedom to explore darker sides of her persona, something she had not been able to do before. This theme of destruction as a means of rebirth is central to the film’s portrayal of Romy, played by Kidman. Reijn describes how Romy’s character is capable of having everything—career, family, success—but is unable to ask for what she truly desires, leaving her in a perpetual state of dissatisfaction.

Men’s Roles and Expectations in the Film

The characters of Samuel and Romy’s husband, Jacob, both of whom play pivotal roles in the story, challenge conventional gender dynamics. Samuel is portrayed as a sensitive and multifaceted figure—sweet, dominant, angry, and caring all at once—making him a fantasy figure for Romy. Yet, Reijn notes that such a character is unattainable in real life, further exploring the tension between fantasy and reality. Meanwhile, Jacob, Romy’s husband, is not depicted as the source of her dissatisfaction, but rather as a symbol of Romy’s inability to communicate her desires and love herself. It’s not about his failings but about Romy’s self-neglect.

This theme of female empowerment and self-expression is at the heart of the film, and it challenges the common assumptions many men have when they watch it. Reijn shares how some of her male friends asked her whether they were more like Antonio Banderas' character, Jacob, or Harris Dickinson's Samuel. However, she quickly deflects this question, emphasizing that Babygirl is not about comparing men to one another. Instead, it’s about placing Romy, a woman, at the center of the story and allowing her to explore and express her desires on her own terms.

A Shift in the Erotic Thriller Genre

Babygirl offers a fresh take on the erotic thriller genre, a genre that was once dominated by male characters in situations where their desires and actions were presented as inevitable or out of their control. Reijn acknowledges that the 80s and 90s erotic thrillers, such as Fatal Attraction, Indecent Proposal, and 9½ Weeks, were particularly formative for her in her younger years. These films made her feel less alone in her exploration of dark sexuality. Yet, despite their boldness, these films often ended with moral punishments or the destruction of the female characters, a trope Reijn wanted to subvert in Babygirl.

In contrast to those earlier erotic thrillers, where women were often punished for their desires or depicted as femme fatales, Babygirl refrains from moral judgment, allowing the characters and their sexuality to remain complex and open-ended. The movie invites the audience to reflect on the nature of guilt, sexuality, and personal freedom without enforcing a particular moral stance. Reijn’s aim is to create a space where women can feel empowered and free to express their sexuality without shame, echoing the sense of liberation she felt when she watched those early erotic thrillers as a young woman.

The Modern Relevance of Erotic Thrillers

In today’s world, where pornography often fills the role once occupied by the erotic thriller, Reijn’s film aims to reignite the kind of conversations that these films sparked in the past. Erotic thrillers of the 80s and 90s allowed couples to discuss taboo subjects in a way that felt daring yet accessible. Babygirl hopes to continue that tradition by prompting discussions about relationships, desires, and the complexities of intimacy. Reijn reflects on a podcast she recently listened to, in which a woman recounted how a screening of Babygirl inspired her and her husband to have sex in the parking lot afterward. While this anecdote may seem humorous, it highlights the power of film to stir desires and conversations about intimacy.

The film also addresses the shifting nature of desire and sexual exploration in a world where taboo subjects are often still stigmatized. Reijn believes that everyone should be free to explore their sexuality in a safe and consensual environment. Whether it’s dressing up in a silly costume or experimenting with more complex fantasies, the key is acceptance and celebration of one’s desires without fear of judgment.

Celebrating Sexual Liberation and Empowerment

As the conversation around Babygirl continues, Reijn emphasizes the importance of embracing one’s sexuality in all its forms. She expresses her hope that the film can help viewers feel liberated from societal judgments about their sexual desires. The movie, in its raw and unapologetic portrayal of intimacy, encourages individuals to break free from the constraints of shame and guilt that often surround discussions of sex. As long as these explorations are conducted in a safe and consensual way, Reijn believes that anything goes—whether it’s a bizarre fantasy or a simple act of self-expression.

The Power of Music and Inspiration

As the credits roll on Babygirl, the haunting sounds of Sky Ferreira’s “Leash” play, adding yet another layer of depth to the film. Reijn shares her admiration for Ferreira, whose tumultuous relationship with her record label mirrors the themes of control and surrender explored in the film. Ferreira’s song for the movie resonates with Reijn on a personal level, as it captures the dark emotions and inner conflict that she sought to portray through the film. Reijn’s connection to Ferreira goes beyond mere admiration for her music; it’s a shared understanding of the complexities of control, desire, and liberation that run through both their work.

In the end, Babygirl is more than just an erotic thriller. It’s an invitation to explore one’s own desires and emotions without fear or shame, a call to liberate oneself from the confines of societal expectations. Through its exploration of dark sexuality, complex relationships, and self-discovery, Reijn’s film offers a powerful message of empowerment for women and men alike, challenging traditional notions of sexual morality and encouraging individuals to embrace their own truths.