The recent film Babygirl, directed by Halina Reijn, has stirred significant conversation, particularly around the dynamic performances of its leads, Harris Dickinson and Nicole Kidman. Premiering at the Venice Film Festival where Kidman snagged the coveted Volpi Cup for Best Actress, the film’s narrative delves deep and dark, testing the boundaries of power, intimacy, and ambition.
Babygirl portrays the complicated relationship between Romy, played by Kidman, and her much younger intern, Samuel, played by Dickinson. Set against the backdrop of corporate ambition, the duo navigates the ethically murky waters of their affair as Romy, dissatisfied with her life and marriage, becomes increasingly drawn to Samuel. The film deftly explores how their relationship unfurls not just within the bounds of personal desire but also through the lens of professional power dynamics.
Harris Dickinson emerges not just as Kidman’s co-star but as her equal, skillfully holding his ground. His performance is described as both charming and at times unsettling, capturing the audience's attention. The portrayal of Samuel as not merely the object of desire but as someone who uses his charisma to manipulate—albeit ambiguously—offers depth to his character. "The manner in which Samuel aggressively pines for Romy’s attention is somewhat disturbing at first, but it is eventually revealed he is simply using the only tools at his disposal to get ahead," noted one critique from IndieWire.
A particularly pivotal scene features Samuel performing to George Michael’s “Father Figure,” which serves as the film’s emotional and narrative fulcrum. The scene embodies their shifting dynamics as power exchanges hands—initially showcasing Romy as the dominant force, but transitioning to expose Samuel’s vulnerabilities and self-assertion. The unique moment communicates how their desires complicate and intertwine. “Samuel’s performance allows us to see him as authentically youthful and reckless, perfectly encapsulating the film’s exploration of erotic ambitions,” remarks one reviewer.
But what makes their on-screen chemistry so compelling is the purposeful distance the actors maintained off-camera. "We didn't really get to know each other well before or during filming," Dickinson revealed. Reijn confirmed this approach, stating, “It benefited the material to kind of just stay a bit more present with the characters.” Such choices reinforced the tension and spontaneity depicted on screen, which is integral to the film's narrative integrity.
For his part, Dickinson has been recognized for his commendable ability to embody both vulnerability and intimidation, which resonates through his character’s interactions with Romy. His portrayal touches on universal themes of ambition and desire, prompting reflections on how power affects relationships within the business world. The film navigates this complicated terrain, emphasizing where both characters come from as products of their environments—addressing ageism, sexism, and the challenges inherent to workplace hierarchies.
Beyond acting, Dickinson shares creative endeavors with his long-time girlfriend, Rose Gray, who also serves as his muse. Their collaborative spirit echoes through their relationship dynamics, with Dickinson stating, “We both compliment each other’s creative visions.” This sentiment resonates with the layered relational motifs present throughout Babygirl, paralleling the entangled emotional investments of his screen character with the real-life partnership he shares. The couple has built a home for creativity, working together on various projects, including directing music videos for Gray.
While Babygirl provokes discussions about its controversial themes, it also invites praise for its ambitious storytelling, which ponders the sacrifices made for love and ambition. Each character grapples with their motivations, desires, and the moral repercussions of their choices. It's this complexity, coupled with the palpable chemistry between Kidman and Dickinson, which marks Babygirl as not only controversial but as provocative cinema.
With enticing performances and a narrative ripe with thematic exploration, Babygirl cements Harris Dickinson's rising star status. Critics applaud him for his ability to evoke sympathy, drawing audiences to his morally ambiguous character and leaving them questioning the fine line between manipulation and genuine connection. The film, alongside thrilling performances, illuminates the duality of ambition and personal desires, marking itself as one of the most discussed films of 2024.
Released on December 25, 2024, Babygirl stands at the intersection of eroticism and psychological complexity, setting the stage for both conversation and potential accolades this award season.
