In a world where directors often rely heavily on explicit scenes to depict eroticism, Halina Reijn’s latest project, “Babygirl,” introduces a refreshing perspective that foregrounds suggestion and psychological tension over mere physicality. Through her artistic vision, Reijn reveals that true sexual intrigue often thrives in the unseen and the unspoken. This unique approach not only revitalizes the genre but also invites audiences to reflect on the complexities of desire and power dynamics, mimicking the intricacies of real-life interactions.
An Unexpected Inspiration
Reijn’s journey to create one of the year’s standout erotic sequences stems from a personal experience that illustrates the richness of emotional truth. During her stage performance in Belgium, Reijn found herself captivated by a young actor who ordered her a glass of milk—a seemingly innocuous gesture that resonated deeply with her. “The milk is, of course, an archetype,” she shared in an interview. This statement underscores her understanding that symbols can carry profound meanings, often evoking feelings and settings far beyond their literal interpretation.
Her recollection suggests a moment charged with tension, where the act of drinking this glass of milk became a metaphor for vulnerability and submission. It serves as a reminder that sometimes the mundane can morph into the provocative when layered with psychological depth. The seemingly trivial connection—a drink ordered at a bar—transforms into a provocative challenge that invites viewers to explore notions of power and seduction.
Reijn’s philosophy about depicting sex onscreen is refreshingly unconventional. She emphasizes that the most compelling erotic moments are not merely a series of physical encounters, but rather a dance of suggestion and imagination. “What fascinates me about sex is that it’s often not at all two bodies banging into each other,” she articulated, contrasting typical cinematic portrayals with a focus on the mental aspects of sexual allure.
This insight reveals Reijn’s nuanced understanding of desire. Rather than resorting to overt sexual acts that can sometimes dilute emotional connection, she opts for intimate scenarios that evoke arousal through psychological interplay and suggestion. For example, the scene involving high-powered CEO Romy (Nicole Kidman) and her intern Samuel (Harris Dickinson) going beyond mere physicality to explore complex power dynamics establishes a foundation rich with tension and anticipation.
Within “Babygirl,” Reijn intricately weaves an exploration of power dynamics that challenge traditional narratives of desire. The affair between Romy, a powerful yet fragile character, and Samuel, her younger intern, isn’t just a tale of lust; it is a commentary on vulnerability and control. In a high-stakes corporate landscape, Romy finds herself navigating her place within both her professional and personal realms.
Hers is a layered depiction that mirrors the complexities many experience in a world filled with societal expectations. Reijn deftly showcases how power can shift, revealing the intricacies of human relationships that extend far beyond physical interactions. The implications of their connection, inherently laden with risk, underscore the way sexuality can be both empowering and disempowering, a theme that resonates across various contexts and character arcs.
The conversation around sexuality in film is evolving, and Reijn’s “Babygirl” is a vital contribution to this discourse. By showcasing the beauty in suggestion and psychological undertones rather than relying on explicit content, Reijn challenges the norms established in the genre. Her reflections remind audiences that eroticism often lies not in the climaxes of physical encounters, but rather in the build-up and the interplay of emotions.
As viewers witness Romy’s journey and the dynamic with her intern unfold, they are invited to consider the layers of attraction, power, and vulnerability, turning the lens on their interpretations of arousal. Through Reijn’s artistry, the film promises to evoke deeper reflections on human connections, proving that, indeed, the truth—fraught with complexity and ambiguity—can often be sexier than fiction.