The demands of achieving both one-day shipping and a satisfying orgasm collide in Halina Reijn’s “Babygirl,” a kinky and darkly comic erotic thriller about sex in the Amazon era.
Nicole Kidman stars as Romy Mathis, the chief executive of Tensile, a robotics business that pioneered automotive warehouses. In the movie’s opening credits, a maze of conveyor belts and bots shuttle boxes this way and that without a human in sight.
Romy, too, is a little robotic. She intensely presides over the company. Her eyes are glued to her phone. She gets Botox injections, practices corporate-speak presentations (“Look up, smile and never show your weakness”) and maintains a floor-through New York apartment, along with a mansion in the suburbs that she shares with her theater-director husband ( Antonio Banderas ) and two teenage daughters (Esther McGregor and Vaughan Reilly).
But the veneer of control is only that in “Babygirl,” a sometimes campy, frequently entertaining modern update to the erotically charged movies of the 1990s, like “Basic Instinct” and “9 1/2 Weeks.” Reijn, the Dutch director of “Bodies Bodies Bodies” has critically made her film from a more female point of view, resulting in ever-shifting gender and power dynamics that make “Babygirl” seldom predictable — even if the film is never quite as daring as it seems to thinks it is.
The opening moments of “Babygirl,” which A24 releases Wednesday, are of Kidman in close-up and apparent climax. But moments after she and her husband finish and say “I love you,” she retreats down the hall to writhe on the floor while watching cheap, transgressive internet pornography. The breathy soundtrack, by the composer Cristobal Tapia de Veer, heaves and puffs along with the film's main character.
One day while walking into the office, Romy is taken by a scene on the street. A violent dog gets loose but a young man, with remarkable calmness, calls to the dog and settles it. She seems infatuated. The man turns out to be Samuel (Harris Dickinson), one of the interns just starting at Tensile. When they meet inside the building, his manner with her is disarmingly frank. Samuel arranges for a brief meeting with Romy, during which he tells her, point blank, “I think you like to be told what to do.” She doesn't disagree.
Some of the same dynamic seen on the sidewalk, of animalistic urges and submission to them, ensues between Samuel and Romy. A great deal of the pleasure in “Babygirl” comes in watching Kidman, who so indelibly depicted uncompromised female desire in Stanley Kubrick’s “Eyes Wide Shut,” again wade into the mysteries of sexual hunger.
“Babygirl,” which Reijn also wrote, is sometimes a bit much. (In one scene, Samuel feeds Romy saucers of milk while George Michael’s “Father Figure” blares.) But its two lead actors are never anything but completely magnetic. Kidman deftly portrays Romy as a woman falling helplessly into an affair; she both knows what she’s doing and doesn’t.
Dickinson exudes a disarming intensity; his chemistry with Kidman, despite their quickly forgotten age gap, is visceral. As their affair evolves, Samuel’s sense of control expands and he begins to threaten a call to HR. That he could destroy her doesn’t necessarily make Romy any less interested in seeing him, though there are some delicious post-#MeToo ironies in their clandestine CEO-intern relationship. Also in the mix is Romy’s executive assistant, Esme (Sophie Wilde, also very good), who's eager for her own promotion.
Where “Babygirl” heads from here, I won’t say. But the movie is less interested in workplace politics than it is in acknowledging authentic desires, even if they’re a little ludicrous. There’s genuine tenderness in their meetings, no matter the games that are played. Late in the film, Samuel describes it as “two children playing.”
As a kind of erotic parable of control, “Babygirl” is also, either fittingly or ironically, shot in the very New York headquarters of its distributor, A24. For a studio that’s sometimes been accused of having a “house style,” here’s a movie that goes one step further by literally moving in.
What about that automation stuff earlier? Well, our collective submission to digital overloads might have been a compelling jumping-off point for the film, but along the way, not every thread gets unraveled in the easily distracted “Babygirl.” Saucers of milk will do that.
“Babygirl,” an A24 release, is rated R by the Motion Picture Association for “strong sexual content, nudity and language.” Running time: 114 minutes. Three stars out of four.
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This review has been updated to correct that Reijn is Dutch, not Danish.
Jake Coyle, The Associated Press