“Everything is about sex, except sex. Sex is about power.”

Oscar Wilde’s quote was never more appropriate than for the new Halina Reijn movie, Babygirl. Having switched from acting to directing only a few years ago, Babygirl is her second English movie, and the first English script she wrote.
And what a stunner it is.

Halina Reijn absolutely reigns with this movie. Not just on filmfestivals but this piece of erotic cinema was exactly the rude yet pleasurable awakening, the industry so direly needed.
She has them eating out of her hand, like CEO Romy.

On all fours in front of the bed, carefully taking a red candy out of the palm of the outstretched hand.

“Now spit it out,” the company’s intern Samuel commands Romy.
Taking his time to carefully wrap it and take it aside.
Leaving Romy waiting.
Yearning.
Uncertain if she will stay or flee, storming out like minutes ago but for real this time.
The clock ticks away the last seconds to the moment of no return.

Samuel will make her come hard and fast. Without even taking his clothes off or kissing her.
But he will generously take her in his arms, as she breaks down crying afterwards. The ultimate cathartic release after a lifelong of sexual neglect and repression, most importantly her own. But the husband who was clueless on how to handle her, didn’t help either.

Like Romy finding the visceral satisfaction, the understanding of what she has been missing out on, the relief that she is now finally nourished and taken care of, by someone who knows their craft;
In the same way will the world understand what it has been denying itself.

In the changing 21st century sexual climate, we have become more and more aware of what is not right, and of equality and consent;
And the Me Too movement has taken down whole areas of the toxic Hollywood landscape;
In that era, we have been uncertain on how to build back. Lethargic even.

“Babygirl” has seduced us back into the bedroom of big budget cinema, and instead of overthinking it, we pick up a familiar backpack lying on the chair.
Yes, this is the right room… so strange we’re alone then.
But it gives us time to look around.

The door opens and he comes in, dressed in a pair of trainers and a hoodie. Not like anything we expected. He carries a plastic bag, with takeaway food from the looks of it.
“Ah there you are,” he says.
As if we were the ones who are late.
His laid back mannerisms seem hardly appropriate for the explosive situation we are finding ourselves in.

Just like in the movie, Reijn downplays what she is doing.
There are no disclaimers that Babygirl will singlehandedly blast away decades of sexual neglect and misrepresentation.

Just like Samuel, Reijn knows perfectly well what she is doing. There is a deceptive ease in her performance, as they are both open and aware of concepts like consent.
Both not afraid to be clumsy nor avoiding difficult conversations.

What both Samuel the young lover, and Halina Reijn the new director understand so well is that sometimes what is required are not endless discussions.
Are not multiple perspectives.
No meticulous strategies.

But to bring us to our knees so we can finally and fully;
Let go.

.
Suzanne L. Beenackers
20th century writer, diarist & yoga teacher

Hungry for more? Previously in the Babygirl series:
But will it satisfy the spoiled ones? | pre-screening musings

“Babygirl (2024) gets Hollywood on its knees”
is my second post about the movie Babygirl.

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