Nicole Kidman's Insights on Intense Filming of Sensual 'Babygirl' Scenes

Inside Nicole Kidman's Intense Experience Filming 'Babygirl'

Nicole Kidman, the renowned Oscar-winning actress, is no stranger to portraying complex characters on screen. Her latest venture in the film 'Babygirl' is no different, as she steps into the shoes of a powerful CEO whose life spirals due to a passionate affair with a younger intern. Directed by Halina Reijn, the film offers a deep dive into themes of power, gender, and hidden desires. But it wasn't just the storyline that was challenging for Kidman; it was the filming process itself. Speaking candidly to The Sun, she opened up about the emotional rollercoaster of shooting intimate sex scenes that at times overwhelmed her.

The Emotional Turmoil of Filming

Working alongside Antonio Banderas, who plays her husband, and Harris Dickinson, the young intern, Kidman found herself exploring new emotional and physical territory on set. 'Babygirl' demanded a level of vulnerability and intensity that occasionally crossed the line into discomfort. She described moments on set where the boundary between acting and real emotion blurred. 'There was an enormous amount of sharing and trust,' she stated, reflecting on the complex dynamics between her and her co-stars. However, this shared experience often led to moments of fatigue and burnout. More than once, Kidman reached a point where she declared, 'I don't want to orgasm anymore. Don't come near me. I hate doing this.' These words underscore the psychological weight some roles can carry, especially those that require actors to strip down not just physically but emotionally.

Exploring Unfamiliar Territories

Despite the challenges, Kidman was drawn to 'Babygirl' precisely because it presented an opportunity to explore an area she had not yet navigated as an actress. Known for her versatility, Kidman is always in search of roles that push her boundaries. 'I've always been on a quest as an actor,' she explained, 'to go where I have not been and explore as a human being.' 'Babygirl' was a perfect fit, taking her into the uncharted waters of sexual dynamics and emotional complexity. Her performance is already receiving positive attention, having premiered at the Venice Film Festival where she clinched the Best Actress award. Geoffrey Macnab from The Independent commended her, noting that Kidman 'digs much deeper' into her character than in prior roles.

The Director's Vision and Impact

Director Halina Reijn also played a critical role in shaping Kidman's performance. Reijn, known for her fearless approach to difficult subjects, brought out the best in Kidman. Her direction allowed Kidman to embody a headstrong, independent woman whose sexual submissiveness is portrayed with nuance, not weakness. Reijn's vision for 'Babygirl' included delving into the multi-faceted power dynamics between the protagonist and her lover. 'Despite its forbidden nature, the joy of that exploration is liberating, even healing,' Reijn described, highlighting how the film allowed its characters to confront and play out confusion around power, gender, and primal instincts. By framing the affair this way, both Reijn and Kidman invite audiences to question conventional narratives around desire and power.

Looking Ahead to 'Babygirl's' Release

As anticipation builds for the film’s public release on January 10, 2025, audiences are eager to see how Kidman's exploration of unfamiliar emotional landscapes translates on-screen. 'Babygirl' promises to be more than just a tale of passion; it is an examination of modern relationships and the boundaries of personal and professional crises. With its thought-provoking narrative and strong performances, the movie is set to be both a critical and commercial hit. Kidman's candid reflections on her experiences highlight the often unspoken challenges actors face when roles demand such intense emotional investment. Through 'Babygirl', she continues to blur the lines between personal growth and professional artistry, contributing once again to her legacy in the film industry.

9 Comments

Kelly Ellzey
October 25, 2024 AT 23:01

I just want to say how brave Nicole is for doing this. Like, most actors would’ve backed out after the first take, but she went all in. It’s not just about sex scenes-it’s about exposing raw humanity. And honestly? We need more of this. Art shouldn’t be sanitized. We’re so quick to judge, but what if this is exactly what healing looks like for some people? I’m crying just thinking about it.
maggie barnes
October 26, 2024 AT 12:11

This is so overrated. She’s acting like she’s the first woman ever to do a sex scene. Newsflash: it’s a job. You get paid. You do the scene. You go home. Stop romanticizing trauma. Also, why is every article about her now just a love letter? She’s talented, sure, but she’s not a martyr. Stop crying over her ‘emotional toll’-she signed the contract.
mahak bansal
October 26, 2024 AT 21:21

The way she described the boundary between acting and real emotion blurring-that’s the essence of method acting. Most people don’t realize how much of yourself you have to give up to portray someone else fully. It’s not表演-it’s excavation. And the director’s vision was key. Reijn didn’t just direct scenes, she created a space where vulnerability could exist without shame. That’s rare.
Lewis Hardy
October 26, 2024 AT 22:06

I can’t imagine having to say 'I don't want to orgasm anymore' after a long day of filming. That’s not just emotional labor-that’s psychological endurance. I’ve worked in high-stress jobs, but this is on another level. It’s not just about sex. It’s about power, control, surrender. And she’s showing us what that costs. I respect her so much more now.
Prakash.s Peter
October 27, 2024 AT 16:46

Let’s be clear: this isn’t art. This is performative vulnerability disguised as cinematic genius. The industry loves to elevate actresses who cry on set while wearing silk robes. Meanwhile, real artists in India, Nigeria, Brazil-they’re making films with no budget, no crew, no safety nets. And here we are, giving Oscar buzz to a Hollywood princess who had a spa day between takes.
ria ariyani
October 28, 2024 AT 10:47

OK but did you SEE the way she looked at Harris Dickinson in the elevator scene?? I mean… like… the lighting was literally divine?? And the way her lip trembled right before she kissed him?? I had to pause the trailer 3 times. I’m not even kidding. I think I fell in love with her. And also… I think her husband’s character is secretly the villain?? 🤯
Emily Nguyen
October 29, 2024 AT 16:26

This is peak performative feminism. The film markets itself as ‘empowering’ but it’s just another male gaze wrapped in feminist jargon. Power dynamics? Please. She’s playing a CEO who gets turned into a sexual object by a 25-year-old. That’s not subversion-that’s regression dressed in Armani. And don’t get me started on the ‘healing’ narrative. That’s not healing, that’s trauma tourism.
Ruben Figueroa
October 31, 2024 AT 05:48

She said ‘I hate doing this’?? 😂😂😂 Classic Hollywood. Next she’ll be crying into her organic kale smoothie about how ‘the emotional toll’ made her miss her yoga class. Meanwhile, real people are working two jobs and still paying rent. This isn’t art-it’s luxury trauma porn. And the director? She’s just another white woman who thinks ‘provocative’ means ‘sex with a rich woman and a hot intern.’ 🙄
Gabriel Clark
November 1, 2024 AT 11:53

What stands out most is how the film refuses to reduce the characters to stereotypes. The CEO isn’t weak because she desires; the intern isn’t predatory because he’s young. It’s messy. Human. Real. And Kidman’s performance? It’s not about the sex-it’s about the silence between breaths. The way she holds her hands when she thinks no one’s watching. That’s the genius. No grand speeches. Just presence. That’s what stays with you.