Babygirl | TIFF 2024 | Review by: Gal Balaban
It’s so easy for erotic thrillers to fall too far into camp, or take themselves too seriously, which has caused many, such as Unfaithful or Basic Instinct, to fall into either melodrama or laughability. Babygirl not only succeeds because of its layered themes, but also because of its irony. It feels like a film that has to be made today. Only Halina Reijn behind the camera could’ve made Babygirl feel as audacious as it is without the moral discomfort taking over. The direction, cinematography, editing, and score pack surprises and evolve with the film as the story descends into murkiness and the situation gets increasingly out of hand.
Nicole Kidman gives her most daring performance in years, a character that on the page seems like many others she’s played, but is ultimately anything but. The script explores Romy’s inability to recognize her freedom to choose (or perhaps the audience) after an awful decision, as she throws herself into a situation she suddenly can’t escape. The film dives into power and gender dynamics, workplace standards, and the murky idea of submission. Is power the ability to lie? To be reckless? To screw up, or even give that power up? Are those powers and luxuries different for women, even today?
While Kidman is incredible, Harris Dickinson is equally magnetic. He’s equal parts silly and brutish, and the tough masculinity bursts out of his awkward softness, indicating a desire to pin down and control. Their dynamic is fascinating, but the movie brilliantly leans into camp humor during some of the more cringey scenes, without it overshadowing the mature undertones. Antonio Banderas also has plenty of strong moments, playing Kidman’s husband, a complex, empathetic character in his own right. And Sophie Wilde shines as well, and her scenes are brilliantly played and key to the film’s themes.
The film’s thrills come in this fusion of feelings we have towards these characters, and how easily it all escalates. Reijn is clearly having fun with it all, whether the shots of corporate Manhattan, the mirror she holds to these characters, or the remarkable soundtrack choices. The runtime is enticing and you never quite know what you’re about to get. There’s nuance to unpack and never provides easy answers to its questions about its workplace and familial settings, but it all feels so effortless that you never feel like the movie’s working too hard to make you think, laugh, or have fun.
4.5/5
Review by: Gal Balaban
