Babygirl follows Romy Mathis, the CEO of a robotics company, as she navigates a world of corporate control and hidden desires. The film explores themes of gender dynamics and power, blurring the lines between manipulation and attraction.
“Babygirl,” 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.
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.
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 , who’s eager for her own promotion.
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.
Erotic Thriller Gender Dynamics Power Control Modern Cinema
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