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Movies often present visually appealing females that are objects to gawk at; what they tend to do less often ( if at all ) is provide some introspection on female desire or any nuanced exploration on their inner turmoil and that is where ‘Babygirl’ steps up; because through all controversial subject matters, this movie explores the many power dynamics of an uncommon sexual relation between Romy ( a very successful female CEO) and her much younger intern, Samuel that by also focusing that power structure shows a much more nuanced narrative than just a typical ‘sex’ focused drama.
“Babygirl” doesn’t rely in clichéd representations or cheap thrills but through using this odd unconventional pairing it showcases a narrative that most media tend to neglect, it allows an opportunity for the main female protagonist to be shown not as some victim, or simple ‘sex symbol’ but also allows viewers to understand her frustrations. Romy, despite a comfortable life lacks that key human element: genuine sexual connection, which leads her into a path of self discovery through this odd power play where even the act of being ‘controlled’ may, ironically, offer her a unique method for exploring her individual needs. It’s very much a self serving exploration, despite any social norms which makes the movie so unique.
Even before a key relationship is explored in depth, that central conflict comes up clear, even after intimate relations with a her well intended spouse ( Jacob, ) a deep void inside Romy creates clear limitations for genuine fulfillment as Romy clearly looks beyond surface satisfaction so as viewers we can now actively follow how ‘that need’ ( that lack of basic joy despite what others could perceive as total success) motivates a character and that will shape our understanding that there’s an absence for real emotional depth which then translates to her ‘power play’ choices. “Babygirl” immediately sets up that very unusual tone where viewers will feel almost uncomfortable as that makes Romy, the main figure not a predictable type which many shows/movies avoid, that unique structure is also part of this movies most complex and defining approach.
When the main protagonist (Romy) meets with Samuel that unique power dynamic shifts slowly but also consciously as both engage in playful power structure exchanges; through these interactions Romy starts looking into ‘submission as means of having power’, and for many, these seemingly simple approaches are, often presented (or portrayed) as simply objectifying female desire in films (mostly geared towards more sexual male viewpoints rather than exploring that concept) but in “Babygirl” all of it feels from Romy's unique angle so a viewer is never looking ‘from the outside-in’, that always feels that is designed ‘inside out’, with the power residing on whom the viewer identifies. Her choice for allowing control through external interactions become her personal desire, something that was absent or denied to her as these choices feel as though these are based on her ( and only on her own needs/values) which is an unusual narrative path even for modern productions which always are very keen to establish ‘good and bad’ roles.
Through that exploration, the movie touches on several themes that rarely get mentioned in mass media with both parties accepting the other’s unique limitations to create something unique; the power is on whom you are observing rather than whom is ‘doing’ a specific action in the screen, making viewer perception a key element in understanding the whole context of the series and it isn't just a passive watching choice: active engagement by the audience is required which also adds another viewing depth for any potential returning re-watch sessions as this is never portrayed through a male gaze point of view which often would dismiss a lot of its narrative qualities.
One cannot help but address and bring some well earned praise to Kidman as she embraces fully a challenging persona through what many would easily dismiss as only shallow exploration. With many career choices where she embraced a unique kind of role to portray her characters internal struggles, in ‘Babygirl’ all of it coalesces, its as if all of her past experiences has lead her up to this. Her portrayal as Romy isn't just a shallow sexual act, it’s instead a deep dive into the complex mix of desire, shame, liberation and even inner rage.
Kidman creates ( via very limited facial expressions or often limited word selection as even ‘quiet’ scenes are often given value by underlying expressions rather than verbose monologues or actions) an approach that makes viewers connect directly with Romy’s struggle, almost like they are viewing it from a direct internal lens. By highlighting the messy emotional conflicts as also the thrill of her ‘giving in’ she makes this type of character much more relatable to an average modern day watcher ( despite all clear absurd elements from surface analysis) so ‘Babygirl’ isn't interested on simple shock value but mostly on giving the main subject, her interior journey through these unusual circumstances that the story created for her.
'Babygirl' never shies away to explore areas that might feel unsafe, risky, or out of touch from social perspectives. By pushing all established social values to challenge pre-conceived opinions with the core concept being that desire does not always stem or follow a pattern that all will find easily agreeable. The concept of ‘control’ , ‘submission’ and ‘liberation’ are often twisted into areas most audiences wouldn’t associate them so all discussions stem from what viewers felt not what was presented creating a space for new important discourse around human relationships, needs and desires. It intentionally creates very important conversations.
It never resorts for the usual formula by creating both lead characters as ‘flawed people’ with very clear limitations that, during most usual productions would render their approach immediately as either ‘good’ or ‘bad’, when all that’s showcased comes down to their complex unique individual viewpoints, allowing a conversation where ethical and moral lines get blurred instead of drawing them on a fixed singular perspective.
Ultimately, “Babygirl” is never simply about cheap thrills. Its main and major objective is always about its commitment to understanding female sexuality through various contexts and with its portrayal it is also challenging long standing traditionalist ideas about ‘control’, and all complex human nuances regarding desire that often escape the grasp or consideration by many film or movie productions. That alone makes this movie stand out for its highly unconventional approach.
Kidman's performance anchors what otherwise could have been viewed as just shock value by bringing out layers of complex emotions behind a performance that could so easily fall into stereotypes and that ultimately serves its main goal: pushing both narratives about females but also encouraging more authentic understanding about human experiences which can often transcend simple words with nuanced expression and a much more emotional impact. “Babygirl” may start many uneasy discussions regarding a sexual power relation dynamic but hopefully it should also encourage far more honest conversations regarding human limitations for desire, needs and even internal conflicts that go against our long accepted (and at times oversimplified) ‘values'. And if nothing else it might finally force more producers to fully realize why more female characters can be the lead on stories that are far less often brought onto modern big screens in an adult way rather than just for teenage/ young adult approaches.