A little more than an hour into *Babygirl*, something remarkable occurs.

CEO Romy (Nicole Kidman) and intern Samuel (Harris Dickinson) rendezvous in an opulent hotel room to rekindle their BDSM-tinged romance. As their bond intensifies, Samuel affectionately refers to Romy as his “babygirl,” and the iconic snare drums and synths of George Michael’s “Father Figure” start to fill the air. This song introduces a sensual sequence where the duo explores their sexual frontiers, highlighted by a shirtless dance performance from Samuel.

This moment is both fun and intimate, superbly reflecting Romy and Samuel’s quest for the “something special, something sacred” that Michael sings about. It’s one of the myriad reasons *Babygirl* is a musical delight. The film boasts impeccable song selections alongside Cristobal Tapia de Veer’s (*The White Lotus*) score featuring growling wolves and operatic vocals, enriching Romy and Samuel’s journey. It also chronicles Romy’s personal growth as she transitions from suppressing her desires to celebrating them openly.

Mashable had a conversation with music supervisor Meghan Currier (*Past Lives*) and Tapia de Veer regarding their contributions to the film, including why “Father Figure” is recognized as *Babygirl*’s anthem and the unexpected way Nicole Kidman’s voice ended up on the soundtrack.

### “Father Figure” by George Michael is the core of *Babygirl*’s soundtrack.

From the onset, “Father Figure” was ingrained in *Babygirl*’s essence. Currier noted that writer-director Halina Reijn envisioned the song while penning the script. “She mentioned to me, ‘While I was drafting this script, I had this on repeat,'” Currier recounted during a Zoom discussion.

The song’s impact is manifested in the screenplay, where the term “fatherly” is used repeatedly to depict Samuel’s demeanor with Romy. Being aware of how vital “Father Figure” was to Reijn’s concept, Currier made it a priority to obtain the rights to the track. It became the cornerstone for the film’s musical mood board, which encompassed an array of genres, from gabber dance music for a rave scene to Christmas songs suitable for the film’s festive setting.

However, “Father Figure” consistently represented the signature sound of Romy and Samuel’s liaison. It even inspired the addition of INXS’s “Never Tear Us Apart,” which features during an earlier montage of their connection.

“Halina and I agreed that incorporating these timeless ’80s tracks was ideally suited for the generational context of Romy and Samuel,” Currier elaborated. “INXS came from that same period.”

“Never Tear Us Apart” accentuates the early moments of Romy and Samuel’s association. “Though it’s a lovely love song, there’s a sense of darkness that aligns with the playful edge of their relationship,” Currier remarked. “It embodies the push-and-pull of them discovering their roles in this game they’re navigating.”

As “Father Figure” plays, their relationship has matured. They’ve defined their roles and are more open to vulnerability with one another. Michael’s lyrics about understanding and supporting a partner echo this emerging closeness.

“The song possesses a softer, more grounded quality that enhances the cocooned, safe ambiance of their hotel room,” Currier observed.

### *Babygirl*’s score narrates a “werewolf” tale.

Between the “Never Tear Us Apart” and “Father Figure” sequences, Romy experiences significant personal transformation. She starts to acknowledge her desires but grapples with expressing them — a struggle mirrored in Tapia de Veer’s score.

The composer devised two primary themes for the film. The first, “Mommy’s Dollhouse,” symbolizes Romy’s polished, composed environment. It features strings, operatic singing, and a gentle piano melody, but its booming drums suggest an underlying strain.

“I composed this with my partner, Kim [Neundorf],” Tapia de Veer disclosed. “She played the waltzy melody with her right hand while I accompanied her with a military march on the left. This interplay creates a clash between the two rhythms, mirroring the tension in Romy’s professional life.”

The second theme, “Wolves,” offers a striking contrast. It’s visceral and instinctual, intertwining distorted vocals, animal-like breathing, and growling wolves. For Tapia de Veer, these elements represent Romy’s metamorphosis and her raw desires.

“There’s almost a werewolf theme at play in this film,” he remarked. “The theme evolves until it distills down to pure rhythm and pulse — raw to its core.”

Interestingly, one iteration of “Wolves” incorporates a sample of Nicole Kidman’s voice. Tapia de Veer captured a spontaneous