One reason sex scenes in movies have diminished as a phenomenon is the widespread availability of pornography. When people can easily access their most specific desires online, the need for carefully staged R-rated “erotic” scenes in films decreases.
Reflecting this shift, “Babygirl,” a drama about a risky office affair written and directed by Halina Reijn (“Bodies Bodies Bodies”), opens with a high-angle close-up of Nicole Kidman straddling an unseen man, panting with pleasure. It mimics what would once have been considered a “hot” movie sex scene. However, the moment shifts when, after her husband (played by Antonio Banderas) says “I love you,” Kidman’s character, Romy, retreats to another room in their vast Manhattan apartment, where she lies on the floor in front of her laptop and masturbates to a grungy incest porn video. The irony here is that Romy, who seemingly “has it all” as a successful CEO, with a supportive husband and two vibrant teenage daughters, secretly craves something far more transgressive and forbidden, revealing a fractured sense of self where her fantasies and reality don’t align.
Early scenes establish Romy as a corporate leader, with her public persona meticulously crafted in company videos where every word is market-tested, even as her company’s all-robot premise displaces human workers. Romy embodies the modern boss—highly controlled and driven, yet yearning for a sexuality that will shatter her tight grip on life. The film suggests that in a society increasingly dominated by technology and rigid corporate protocols, there is a growing desire to break free from control.
The character Samuel, played by Harris Dickinson, ignites Romy’s fantasies. As a new intern at her company, his blunt, challenging demeanor intrigues her. Their chemistry isn’t about physical attraction but the thrill of transgression, as Samuel’s confrontational approach to Romy defies the usual power dynamics and sparks her desire.
“Babygirl” evolves into a smart and engaging film about a “wrong” but compelling sadomasochistic affair. Unlike the satirical tone of “Bodies Bodies Bodies,” Reijn opts for a more realistic portrayal, reminiscent of films like “Fair Play” and “Unfaithful,” but with a focus on the complex, hidden aspects of female sexuality. Kidman delivers a fearless performance, navigating the roles of mother, boss, and adulterer with astonishing emotional depth. Her portrayal of Romy’s internal conflict—torn between control and submission—adds layers to the character’s erotic journey, highlighting the nuanced ways power and desire intersect.
The film diverges from traditional erotic thrillers that punish characters for their transgressions, instead exploring the internal struggles of characters who are already punishing themselves. “Babygirl” takes unexpected turns, capturing a genuine portrayal of women’s erotic experiences in an age where control is pervasive and rebellion is both a danger and a release.
