Please Don’t Ask ‘Babygirl’ Star Harris Dickinson to Call You a ‘Good Girl’ (Exclusive)
Harris Dickinson and Nicole Kidman in 'Babygirl'. photo: Niko Tavernise/A24
the upcoming film Babygirl, starring Harris Dickinson and Nicole Kidman, which explores the intricate power dynamics between Samuel, an intern, and Romy, the CEO of a major corporation. The movie challenges traditional concepts of control, desire, and liberation, navigating complex emotions that transcend the eroticism highlighted in the film’s trailer.
The Complicated Dance of Power and Desire in ‘Babygirl’
Harris Dickinson in 'Babygirl'.photo: Niko Tavernise/A24
Babygirl doesn’t even hit theaters until Christmas, but Harris Dickinson is already tired of fans asking him to call them a “good girl.”
The phrase, which has captured a lot of attention from the film’s trailer, is used by Dickinson’s character Samuel first to tame an aggressive dog and later to address Romy (Nicole Kidman), his boss and lover. It’s a tantalizing moment—one that’s turned a lot of heads—but Dickinson hopes audiences grasp a deeper meaning beyond the catchphrase.
“Someone approached me on the street and asked, ‘Can you say, “Good girl?”’” Dickinson recalls in his conversation with Entertainment Weekly. “I told them, ‘No, come on. Don’t ask me to say that.’ People need to look beyond the eroticism. It’s a very nuanced film—about liberation and what happens when there’s too much constraint. That’s what’s important to discuss too.”
Dickinson, known for his intensity in films like The Iron Claw, Where the Crawdads Sing, and Blitz, took on the role of Samuel, an intern at a major corporation, who is drawn to Romy, the company’s CEO. Their relationship shifts from professional to intimate, revealing a complicated power struggle that questions control, consent, and the complexities of human desire.
The intricate Power Dynamics of Romy and Samuel
Harris Dickinson and Nicole Kidman in 'Babygirl'.photo: Niko Tavernise/A24
“We take turns holding the power,” Dickinson muses about the characters. Samuel possesses an inherent weapon—his youth and low-ranking status within the company—that complicates his interactions with Romy. It flips the expected narrative: Romy, his boss and senior by years, wrestles with her desire to maintain professionalism while Samuel presses on, testing her limits.
“She keeps mentioning her fear of hurting him, the age gap between them,” Dickinson explains. “But in reality, he’s the one holding control in their situation. He’s in a position where he could potentially make this a bigger issue, and Romy knows that.” Samuel’s seemingly submissive role becomes a surprising source of power—a means for him to force Romy to confront desires she’s long buried, allowing vulnerability to surface despite her powerful status.
“We’re attempting to subvert what’s typical of this genre,” Dickinson continues. “The focus isn’t on control or sexual conquest, but rather on the fragility and complexity of desire. It’s a dance—trying out roles, giving and taking, until you find what someone truly wants.” The real essence of Babygirl, as Dickinson puts it, lies beyond the intimate scenes—it’s about behavior, emotional needs, and the search for freedom through connection.
Director Halina Reijn drew inspiration from films like The Piano Teacher, Damage, and Dangerous Liaisons—all of which helped shape Babygirl’s narrative focus on the boundaries of love and power. Unlike typical erotic dramas, Reijn wanted to steer away from explicit depictions of sex, opting instead for intimacy as an emotional act, framed through the lens of vulnerability.
“Halina never intended to show explicit scenes. Her interest lay in the emotions—awkwardness, vulnerability—rather than traditional eroticism,” Dickinson says. “It’s about finding truth together, which is far more compelling than nudity alone.”
A Journey of Self-Discovery
Harris Dickinson in 'Babygirl'.photo: Niko Tavernise/A24
The narrative isn’t just about Romy’s exploration of her sexuality—it’s about Samuel’s journey to understand his place in the world and his perceptions of masculinity. Dickinson points out that Samuel’s arc reflects the confusion young men face today—struggling with expectations of dominance and control while seeking their own vulnerability.
“He wants control but doesn’t always know how to navigate it. He’s learning what masculinity means—figuring out who he is amid society’s conflicting demands,” Dickinson says. “It’s complicated—there are times Samuel takes charge, but there are just as many moments he wants to let his guard down.”
The relationship between Romy and Samuel is less about power struggles and more about two people trying to understand themselves. It’s a dance between dominance and submission, a give-and-take that transcends their professional roles, transforming their bond into something liberating yet raw and honest.
As Dickinson himself notes, “It’s about them navigating those boundaries—about blurring the lines between power, desire, and control.”
Watch the Babygirl Trailer Below:
Babygirl hits theaters everywhere on December 24, 2024.
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