‘Babygirl’ Director Halina Reijn on Directing Steamy Scenes, Subverting Tropes, and Nicole Kidman’s Awards Buzz

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(L-R) Halina Reijn, Nicole Kidman Credit: Niko Tavernise

Dutch filmmaker Halina Reijn discusses her bold approach to Babygirl, a steamy thriller starring Nicole Kidman, and the challenges of redefining the erotic drama genre.

Halina Reijn, the Dutch filmmaker behind the acclaimed thriller Babygirl, isn’t one to shy away from controversy—or honesty. Known in her home country as a fearless artist with a penchant for oversharing, Reijn brings that same unapologetic openness to her work, pushing boundaries and challenging conventions in the erotic drama genre. Starring Nicole Kidman as a high-powered CEO entangled in a dangerous affair with a young intern (Harris Dickinson), Babygirl explores themes of power, desire, and identity, all while playing with and subverting classic tropes of the genre.

Reijn’s unique perspective on the genre stems from her experiences as both an actor and a director. Reflecting on her creative process, she shared that her inspiration came from films like 9½ Weeks and Basic Instinct, though she aimed to inject a modern twist. “The club scene? That’s from Basic Instinct, but with my twist,” Reijn explained. Similarly, Kidman’s dynamic with Dickinson in one scene mirrors Mickey Rourke and Kim Basinger in 9½ Weeks. “I had so much fun making a movie that plays with all the tropes,” Reijn added.

Despite her fearless approach to crafting steamy, intense moments on-screen, Reijn insists she is, in her own words, “a prude.” For her, the most arousing scenes often stem from subtle, unspoken tension rather than physical intimacy. She cited one of her favorite moments in Babygirl: “The scene I find most arousing is when [Nicole] drinks the milk, and [Harris] is at the other side of the bar. They don’t even touch.”

Reijn also brings her extensive acting background to her directing style, ensuring actors feel safe and prepared, especially in emotionally or physically intimate scenes. “What helps is preparing yourself to the teeth. Have a very clear plan,” she explained. Recalling her own experiences as an actor, she expressed disdain for vague direction during such moments: “The thing I hated is when a director is like, ‘OK, now you guys make love. Just do something.’”

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When it came to test screenings of Babygirl, Reijn encountered mixed reactions, particularly regarding the film’s lack of moral judgment. “Some said they were disappointed that the movie didn’t take anything away from her [Kidman’s character]. They were expecting that the cheater [should] get punished or killed,” she noted. However, distributor A24 encouraged her to remain true to her vision, assuring her that no changes were needed.

Reijn’s journey to the director’s chair for Babygirl reflects her willingness to defy expectations. Known for her radical art-house roots in the Netherlands, Reijn surprised many when she took on the comedy-horror Bodies, Bodies, Bodies for A24. The pivot raised eyebrows in her homeland, where some viewed her move to genre filmmaking as a betrayal of her avant-garde roots. “My whole country was like, ‘She’s going to direct a horror movie? What’s she doing?’” she recalled.

Now, with Nicole Kidman winning awards for her lead performance in Babygirl, Reijn has achieved recognition far beyond her Dutch art-house beginnings. Yet, despite the international acclaim, she still finds herself longing for validation from her “motherland.” “It’s so embarrassing,” she admitted, “but I still want to please the Netherlands.”

With Babygirl, Halina Reijn proves her ability to navigate the tension between commercial appeal and artistic integrity, creating a film that challenges audiences’ expectations while honoring the traditions of the erotic thriller genre.

Read our full review of Babygirl

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