One of the film’s most prominent psychological themes is the concept of the inner child—that fragile, unguarded part of ourselves often buried under adulthood’s demands. Kidman’s character embodies this internal conflict, presenting a polished, professional exterior while battling deep emotional turmoil. The film leans into Freudian ideas, particularly the tension between the id (our primal instincts) and the ego (our socialised self). Her sexual fantasies, marked by high-stakes risk-taking, serve as a metaphor for her desire to reconnect with raw, unfiltered emotions from her youth. However, the film’s exaggerated portrayals, such as a surreal meet-cute where a New York street dramatically parts, undermine its credibility, making these psychological insights feel forced rather than organic.
At its core, Babygirl examines the tension between power and submission, particularly in the context of female sexuality. Kidman’s character, despite her professional dominance, finds herself drawn to situations where she relinquishes control. The film’s depiction of female masochism raises provocative questions: Is it a critique of societal expectations placed on women, or a reflection of her unresolved insecurities? Unfortunately, these inquiries are overshadowed by the film’s over-the-top execution. Scenes that verge on melodrama, rather than thought-provoking introspection, dilute the psychological weight of these dynamics, making it difficult for audiences to engage with the film’s deeper messages.
the film’s muddled narrative and reliance on clichéd portrayals of female desire prevent it from reaching its full potential
Another compelling theme is the distinction between physical and psychological intimacy. Kidman’s character, despite maintaining the facade of a conventional nuclear family, feels emotionally estranged. Her journey highlights the paradox of modern womanhood—the expectation to excel professionally while preserving an illusion of personal fulfilment. The film suggests that this dual burden fracture’s identity, forcing women to compartmentalize their vulnerabilities in order to navigate male-dominated spaces. However, the execution of this theme is inconsistent, as stylized, unrealistic moments detract from the film’s emotional core.
One of the film’s strongest elements is its music. A particularly poignant scene depicts Kidman’s character undergoing Botox injections while the score—reminiscent of Squid Game's monotonous soundtrack—emphasises her mechanical existence. The cold, rhythmic breathing sounds embedded in the music reinforce the film’s pervasive themes of repression and sexual fixation. This moment effectively conveys the protagonist’s detachment, trapped in an idea of womanhood that prioritises perfection over genuine experience.
Despite its thematic ambition, Babygirl stumbles in execution. Nicole Kidman’s nuanced performance provides emotional depth, but the film’s muddled narrative and reliance on clichéd portrayals of female desire prevent it from reaching its full potential. Still, it offers a fragmented yet intriguing commentary on the complexities of intimacy, power, and identity. Viewers willing to overlook its narrative inconsistencies may find meaningful discussions within its psychological layers. Babygirl may not fully succeed, but it remains a fascinating, if flawed, attempt to explore the masks we wear in our personal and professional lives.