Romy (Nicole Kidman) can’t climax. At least not with her husband of many years, Jacob (Antonio Banderas), although she delivers a fairly convincing performance for his benefit. This bit of commonplace sexual theater makes up the bold opening of writer/director Halina Reijn’s daring and provocative sexy psychological thriller “Babygirl.
” Theater is a running theme throughout the film, from Jacob’s career as a stage director, mounting a production of Ibsen’s “Hedda Gabler” (Reijn, a former actor in her native Netherlands, once starred in a production of the play), to the thematic — and then literal — role-play in which Romy engages. “Babygirl” is the story of how this role-play figures into Romy’s journey to finding her own pleasure, which is ultimately the journey to discovering the most authentic version of herself. Romy is a boss, a wife, a mother.
She plays every role to perfection — in feminine business wear, steely yet accessible; in a ruffled apron, serving up pancakes to her husband and daughters; in lacy lingerie, the pliant yet enthusiastic lover. But Romy is uncomfortable in her own skin, agitated and anxious. She seeks relief in high-tech wellness rituals, therapy, cosmetic procedures.
She yearns to shed herself like a second skin. Enter Samuel (Harris Dickinson), a newly hired intern at Romy’s company. She first spies the lanky, doe-eyed young man on the street, soothing an out-of-control dog with a cookie and a murmured “good girl.
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