**From Authority to Yielding: Examining Nicole Kidman’s Path in *Babygirl***
In one instant, you’re a powerful CEO, a admired spouse, and a caring parent. In the next, you find yourself quite literally eating out of the hand of your young intern. This contradiction lies at the core of Nicole Kidman’s portrayal in Halina Reijn’s film *Babygirl*. But is it genuinely a contradiction? For Kidman’s Romy Mathis—and numerous individuals who identify as BDSM submissives—the resolution is found in the notion of “subspace.” This shifted cognitive state arises during a consensual kink scene, spurred by excitement and the exchange of control.
### The Attraction of Subspace
Romy Mathis, portrayed by Kidman in a Volpi Cup-winning role, is a high-level executive who radiates authority and self-assurance. That is, until she meets Samuel (Harris Dickinson), a bold and arrogant intern whose oversized suit struggles to contain his confidence. Their interaction transforms when Samuel deftly controls a stray dog with a simple whistle and gesture, leaving Romy visibly rattled. This fleeting instance sparks a journey into the uncharted territories of longing, submission, and the examination of dominance and surrender.
### The Complexity of the “Scene”
In BDSM, a “scene” signifies a negotiated area in which consenting adults set boundaries, safe words, and roles. According to kink educator Lina Dune, this structured environment generates a “container” for metamorphosis and discovery. The term “scene” also resonates within film and theater, denoting a curated performance. Director Halina Reijn embraces this dual interpretation, employing *Babygirl* as a lens to scrutinize the performative dimensions of both sexuality and existence.
“Romy believes she must embody the roles of ideal mother, partner, spouse, and leader,” Reijn observes. “But what we frequently overlook is the importance of simply being ourselves.” This motif is intricately interwoven within the film’s narrative and Kidman’s performance, as Romy contends with her true self beneath the societal layers of expectation.
### A Gritty, Relatable Examination
What distinguishes *Babygirl* is its raw portrayal of dominance and submission. The film refrains from depicting BDSM as a pristine, textbook relationship. Instead, it captures the chaotic, experimental essence of power exchange. Samuel fumbles through his orders, laughs during scenes, and exhibits hesitation, while Romy resists, reconsiders, and at times withdraws. This genuineness infuses a layer of relatability, making the characters’ journey resonate as grounded and human.
### Subspace: A Realm Beyond Description
Subspace, as Dune articulates, is a transformed mental space activated by submission. It may present as a “floaty, dreamy, quietly disconnected feeling” or trigger emotional reactions such as laughter or tears. Scientifically, it’s associated with a surge of adrenaline, oxytocin, and endorphins. Yet, its subjective essence complicates a definitive explanation.
In *Babygirl*, Reijn steers clear of clichéd visual indicators like dizzy, warped point-of-view shots. Instead, cinematographer Jasper Wolf employs handheld camerawork to subtly depict Romy’s internal evolution. The outcome is a nuanced representation of subspace that feels both intimate and immersive.
### The Strength in Vulnerability
One of the film’s memorable moments unfolds in a low-cost hotel room, where the power dynamics between Romy and Samuel come alive. As Samuel pins Romy down, the focus shifts to her expression, capturing her torrent of emotions—astonishment, shame, desire, and eventual capitulation. Wolf describes the camera as a “third character” in the space, its stillness enhancing the raw intensity of the moment.
This vulnerability reaches beyond the characters to the production itself. The cast collaborated closely with intimacy coordinator Lizzy Talbot to guarantee open communication and consent during intimate scenes. Dickinson, who had worked with Talbot previously, stressed the significance of a practical approach to such instances. Reijn even consulted Talbot during the scriptwriting phase, highlighting the extensive preparation that informed the film’s take on intimacy.
### Reimagining Representation
Diverging from films like *Secretary*, which equate submissive kink with trauma, *Babygirl* depicts its characters as empowered individuals delving into their desires. This intricate portrayal confronts stereotypes and presents a more inclusive perspective on BDSM.
Dune points out that while film isn’t required to educate, productions like *Babygirl* and *Sanctuary* represent strides toward improved representation. “Film should be about fantasy,” she asserts, yet suggests that involving sex workers and kink educators could further enrich these stories.
### Yielding to the Narrative
By contextualizing *Babygirl* within corporate, heteronormative frameworks, Reijn subtly critiques societal structures. Subspace, transient yet transformative, defies simplistic categorization. In a milieu driven by capitalist