Release Date: Dec. 25, 2024

Director: Halina Reijn

Genre: Thriller, Erotic, Drama

MPAA Rating: R

Rating: C

Directed by Halina Reijn after her 2022 movie “Bodies Bodies Bodies,” “Babygirl” is a movie packed with suspense and intensity, and has become one of A24’s top-grossing films with $16.2 million earnings made since the time of its release. The story follows the high-powered Chief Executive Officer Romy Mathis, played by Nicole Kidman, as she puts both her career and family on the line, entangled in a secret affair with her younger intern, Samuel, played by Harris Dickinson. This movie attempts to tackle deep themes of ambition, consent and self-discovery, but fails to do this, leaving the movie feeling superficial.

“The suspense and drama were great, but it felt like the movie was more about creating an edgy atmosphere than fully showing the emotional and moral aspects of the characters’ actions,” freshman Melany Correchel said.

The opening scene perfectly introduces Mathis’s marriage by showing her dissatisfaction with her husband, highlighting the emotional distance between them. The film begins with a scene in Mathis’s personal life with her husband and sets the tone for her sexual desires which are constantly displayed throughout the rest of the movie.

With the issues of Mathis’s marriage apparent, Samuel is first introduced as a kindhearted person, but as the movie progresses, we see a darker, more manipulative side to his character that complicates his relationship with Mathis. He attempts to control Mathis, but the character development leading up to this is nonexistent. It jumps from him seeming shy and sweet to him becoming a dictator in Mathis’s life, making the movie seem rushed.

Later on in the film, tension builds as Mathis and Samuel’s relationship begins to affect their professional and personal lives. “Babygirl” peels back layers of both characters, showing their insecurities, desires and the consequences of their choices allowing the audience to find a connection to the characters on the screen. Mathis is a complex protagonist, unable to choose between her public career and personal desires. However, Kidman’s performance is nothing short of brilliant and her portrayal of Mathis’s internal conflict connects to the audience. Kidman brings depth to the character, something the rest of the movie lacked.

“Honestly, I think ‘Babygirl‘ had potential to be really good, but the story did not go deep enough into the details of the relationship between [Mathis] and Samuel. It left me wanting more explanation,” freshman Matt Garcia said.

While “Babygirl” is bold, it occasionally gives up authenticity for style, leaving its characters feeling more like stereotypes than original characters. For example, Samuel’s sudden shift from a sweet, supportive figure to a controlling and manipulative antagonist feels forced and undermines the story’s originality. The film’s emphasis on heightened drama and visuals overshadows its attempt to capture the complexities of human desire, leaving parts of the story feeling less impactful.

As Mathis and Samuel’s relationship develops and Mathis begins to push her husband away, their interactions become increasingly intense, exploring themes of power dynamics and consent. Although the film does not avoid uncomfortable truths, it fails to explore them with the depth they deserve. The surface-level details make the film feel more empty, leaving viewers wanting more exploration of its complex subjects.

During Samuel and Mathis’s intimate scenes, it is clear that although Mathis seems to have much control over her life, those moments are her biggest desire and Samuel uses this as an advantage, forcing her to do unreasonable things. This aspect of the movie is done fairly well and shows the immoral side of Samuel’s character, perhaps even making the viewer see Samuel as the villain of the movie.

“One of the things I liked about the movie was how it talked about power and control, especially in [Mathis] and Samuel’s relationship. I felt like their interactions were very surface level, and I thought the scenes between them could have explored something really meaningful,” sophomore Sebastian Reyes said.

 The ending of “Babygirl” gives audience a feel that Mathis has regained her independence. Mathis and her husband decide to communicate and commit to addressing their issues in their marriage. Meanwhile, Samuel moves to Japan for work and ends their relationship. Mathis begins to regain control over her life and this marks a significant part of her character development, arguably the best development in the entire movie. 

The movie’s stylish aesthetic is a highlight of the film, but while it impresses its audience, its emphasis on this often draws more attention than the storytelling. Prioritizing visuals and atmospheric tension over emotion, dialogue and pacing, leave some scenes feeling empty. For a story that discusses such intimate and raw topics, overly relying on style distracts viewers from its potential impact.

“The aesthetics were stunning, but sometimes it felt like the movie was more about the style than the plot. The story and characters could have been much more developed, especially Samuel,” senior George Leva said.