BABYGIRL, staring Nicole Kidman and Antonio Banderas, is a deeply unsettling psychological drama that revels in ambiguity and alienates more than it intrigues.
The story tries to push boundaries and light a shock fire but instead is a slow burner, leaving you wonder why??? What is the point?
Nicole portrays Romy, a high-powered CEO of some company introducing robotics to the workplace.
She puts her reputation and family at risk as she embarks on a stormy relationship with a new, young intern Samuel (Harris Dickinson).
Meanwhile her theatre director husband Jacob (Banderas) invokes sympathy and seems to be a devoted husband, unaware of the glaring signs of an affair.
Kidman delivers her usual precision as a woman unravelling under the weight of exposure and the desire for the coercive control of Samuel.
He confuses us with the face of a nice guy but the perversion to control and dominate.
This is not any shade of grey, just disturbing and pointless.
It was more a turn off than a turn on and more than once, I wondered what her family would think.
The script offers little clarity, forcing the audience to wade through long, drawn-out, embarrassing scenes that hint at deeper meaning without ever delivering.
It is neither exciting nor thrilling – just a prolonged, painful experience that tests the patience more than intellect.
For those who appreciate deliberately vague, challenging cinema, Babygirl may hold some curiosity and appeal.
However, for most, it’s an exercise in endurance rather than engagement.
If ambiguity and discomfort is your thing, go for it.
Otherwise, it’s a tough sit-through that just isn’t worth the effort – I was one of only five people in the audience, and that speaks volumes.
2/5 chickens (for Antonio)
by PAULA HOLLAND
Perth Voice Interactive 
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