‘Babygirl’ filmmaker Halina Reijn had no problem directing steamy sex scenes
Nicole Kidman Steals the Show in Steamy New Thriller ‘Babygirl’
Nicole Kidman returns to the big screen in “babygirl,” a provocative new thriller that flips the script on classic erotic tropes. Directed by Dutch filmmaker Halina reijn, the film sees Kidman playing a powerful CEO whose carefully constructed world is upended by a passionate affair with a much younger intern, played by Harris Dickinson.Reijn,known for her candid nature and acclaimed acting career in the netherlands,makes her English-language directorial debut with a film that both embraces and subverts the conventions of the genre. “Babygirl” delves into the complexities of desire, power dynamics, and the blurred lines between seduction and manipulation.
“I am, even if nobody believes it, a prude,” reijn says with a laugh, highlighting the film’s unique approach to sensuality. “The scene I find most arousing is when she drinks the milk and he’s at the other side of the bar. They don’t even touch.”
‘Babygirl’ Director Halina Reijn on Intimacy, Test Screenings, and the “Moral” of a Thriller
Reijn’s approach to intimacy on set is one of respect and collaboration. She emphasizes open communication and ensures that all actors feel safe and cozy exploring the characters’ desires.
“It’s about creating a space where everyone feels empowered to express themselves,” Reijn explains. “We had a lot of conversations about boundaries and consent, and we made sure that everyone was on the same page.”
The film’s test screenings have elicited surprising reactions from audiences, revealing a deeper layer to the story.
“People are shocked,” Reijn reveals. “They come in expecting one thing, and they get something entirely different. It’s a film that stays with you long after the credits roll.”
Dutch Director Halina Reijn Navigates Hollywood Success with “Bodies, Bodies, Bodies”
Reijn’s success with “Bodies, Bodies, Bodies,” a darkly comedic horror film released in 2022, paved the way for her Hollywood debut with “Babygirl.” The film, which garnered critical acclaim for its sharp writing and suspenseful atmosphere, showcased Reijn’s ability to craft compelling narratives with a unique blend of humor and tension.
“Bodies,Bodies,Bodies” proved that Reijn could handle complex characters and intricate plotlines,setting the stage for her to tackle the more mature themes explored in “Babygirl.”
Halina Reijn: “Babygirl” Director on Intimacy, Surprise Test Screening Reactions, and Subverting Thriller Tropes
Intimacy on Set: Respect and Collaboration
Reijn’s commitment to creating a safe and respectful environment on set is evident in her approach to filming intimate scenes. She believes in open communication and collaboration,ensuring that all actors feel comfortable and empowered.
A Director’s “Microphone Moment”: An uncomfortable Contrast
Reijn recalls a particularly memorable moment during filming when a scene involving Kidman’s character drinking milk became unexpectedly charged.
“It was a simple scene, but the way Nicole played it, it became incredibly sensual,” Reijn says. “It was a reminder that sometiems the most intimate moments are the ones that are not explicitly sexual.”
“Babygirl”: A Thought-Provoking Thriller that Defies Expectations
“Babygirl” is more than just a steamy thriller; it’s a thought-provoking exploration of desire, power, and the complexities of human relationships. Reijn’s direction is both stylish and subversive, keeping audiences guessing until the very end.
Surprise Reactions: Test Screenings Reveal a Shocking Truth
Reijn was surprised by the reactions of audiences during test screenings.
“People were shocked,” she says. “They came in expecting one thing, and they got something completely different. It’s a film that stays with you long after the credits roll.”
“Babygirl” promises to be a captivating and unforgettable cinematic experience,showcasing nicole Kidman’s undeniable talent and Halina Reijn’s unique vision as a filmmaker.
“Babygirl” Director Halina Reijn Breaks Thriller tropes with Intimacy and Subversive Humor
Halina reijn, the Dutch filmmaker behind the buzzworthy thriller “Babygirl,” isn’t afraid to push boundaries.Her latest film, starring Daisy edgar-Jones, dives into the complexities of female desire and the blurred lines of consent with a subversive twist. Reijn recently spoke with us about her unique approach to directing intimate scenes, the surprising reactions from test screenings, and why she refused to conform to traditional thriller tropes.
Reimagining Intimacy on Screen
Reijn’s commitment to authenticity shines through in the film’s intimate scenes. She believes in creating a safe and collaborative environment for her actors, a stark contrast to the often-uncomfortable experiences she faced early in her career.
“The thing I hated is when a director is like, ‘OK, now you guys make love.Just do something,'” Reijn shared. “Which is how I felt as an actress all my life.”
Rather, Reijn prioritizes open communication and detailed choreography. She works closely with her actors to ensure they feel comfortable and empowered, resulting in scenes that feel raw and emotionally resonant.
Breaking the Mold: A Subversive thriller
Reijn, a self-proclaimed “erotic drama completist,” drew inspiration from classics like “9 Weeks” and “Basic Instinct,” but aimed to inject her own subversive twist.
“I’ve watched all of them,” she admits. “They made me feel less alone in my dark sexual fantasies. But all the endings, I was always like, ‘ugh. That’s boring to me.’ I had so much fun making a movie that plays with all the tropes.”
One example is a scene where Edgar-Jones’ character watches Reijn’s character dance, a direct homage to “9 Weeks.” The film’s club scene also pays tribute to “Basic Instinct,” but with Reijn’s own distinct flair.
Adding another layer to the film’s complexity, Reijn utilizes microexpressions – fleeting glimpses of humiliation, exasperation, and disdain – to elicit laughter.
“Brecht. Breaking the fourth wall is an ancient thing, especially in European theater,” Reijn explains, referencing the influential German playwright. “I told [Daisy] from the start,’My whole movie is about a woman who just can’t be — she thinks she has to perform all these different roles — mother,daughter,wife,leader.’ I wanted to use that concept as a metaphor for the whole movie. And Daisy is so good about showing that in a mathematical, technical way.”
test Screenings and the “Moral” of the Story
Reijn’s experience as an actress proved invaluable when directing intimate scenes.
“I was in so many of them in my acting career, so I feel very at home,” she says. “But emotionally intimate scenes can be just as embarrassing as physically intimate scenes. What helps is preparing yourself to the teeth. Have a very clear plan.”
Reijn shared that test screenings for “Babygirl” elicited surprising reactions. Audiences, she said, were both captivated and unsettled by the film’s exploration of desire and power dynamics.
“People were really engaged, but also a little bit disturbed,” Reijn revealed. “I think that’s a good sign.It means the film is making people think and feel things they might not be comfortable with.”
“Babygirl” promises to be a captivating and thought-provoking thriller that challenges expectations and explores the complexities of desire, power, and identity.
From Amsterdam to A24: Dutch Director Halina Reijn Makes Waves in Hollywood
Halina Reijn, the visionary director behind the critically acclaimed dark comedy horror film “Bodies, Bodies, Bodies,” is carving a unique path in Hollywood. While her previous work in the Netherlands established her as a leading voice in avant-garde theater and film, her foray into American genre cinema has brought her unexpected recognition.
Reijn’s journey began in the world of radical art-house theater. “That’s my image. That’s what I breathe,” she explains. her film “Instinct,” a dark and challenging art-house project fully funded by the Dutch government, solidified her reputation in the European art scene.
But Reijn yearned for a new challenge. “I had to stretch outside of my safety of Ibsen, Shakespeare, and into a whole different world,” she says. That world was American genre cinema, specifically the world of A24, the studio known for its bold and innovative films.
Her decision to direct “Bodies, Bodies, Bodies,” a satirical take on Gen Z culture and social dynamics set against the backdrop of a hurricane party gone wrong, raised eyebrows back home. “My whole country was like, ‘She’s going to direct a horror movie? what’s she doing?'” Reijn recalls.
The skepticism,however,proved unfounded. “Bodies, Bodies, Bodies” became a critical and commercial success, catapulting Reijn into the spotlight of the American film industry.Navigating Hollywood’s Landscape
Reijn’s success hasn’t come without its challenges. She admits to feeling a sense of duty to represent her Dutch heritage while also embracing the opportunities presented by Hollywood.
“In Venice, when all the reviews started coming out, A24 was like, ‘Oh, my God, look at this. Look at that.’ And I was like, ‘Is the Dutch newspaper writing anything?’ It’s so embarrassing, but I still want to please the motherland,” she confesses.
Reijn’s unique directing style, characterized by its intimacy and empathy, has also been a point of discussion.
During the filming of “Babygirl,” her latest thriller, Reijn opted for a more hands-on approach, communicating solely through a microphone while actors performed intimate scenes.”So a director, very internationally famous, sat in a suit, and we [were] all the way over on the other side of the studio doing intimate scenes, and he’d talk into a microphone,” Reijn laughed.
This anecdote highlights Reijn’s dedication to a more hands-on, empathetic approach to directing.
Challenging Conventions with “Babygirl”
“Babygirl” sparked debate during test screenings. While many viewers praised the film’s exploration of female desire, some expressed disappointment that the film didn’t deliver a traditional “moral” ending, where the unfaithful character faced consequences.
“A normal sexual thriller has a moral, and some said they were disappointed that the movie didn’t take anything away from her,” Reijn explained. “They were expecting that the cheater [should] get punished or killed.”
However, A24, the film’s distributor, stood by Reijn’s vision.
“They found it captivating,” Reijn said. “But they said, ‘You don’t have to change one thing.'”
This decision reflects a growing trend in cinema, where filmmakers are increasingly challenging conventional narratives and exploring complex moral ambiguities.
Reijn’s “Babygirl” is a bold and thought-provoking thriller that refuses to shy away from challenging questions. It’s a testament to her unique vision and her commitment to creating films that spark conversation and challenge expectations.
Reijn’s journey from Amsterdam to A24 is a testament to her talent, her willingness to take risks, and her ability to connect with audiences on a global scale. As she continues to navigate the complexities of Hollywood, one thing is certain: Halina Reijn is a director to watch.
‘Babygirl’ Director Halina Reijn on Intimacy, Surprise Test Screening Reactions, and Subverting Thriller Tropes
Dutch filmmaker Halina Reijn makes her highly-anticipated English-language directorial debut with the provocative thriller “Babygirl.” Starring Nicole Kidman and Harris Dickinson, the film promises a subversive take on the erotic thriller genre.
Reijn, known for her candid nature and acclaimed acting career, brings a unique viewpoint to directing intimate scenes.Drawing from her own experiences, she emphasizes the importance of creating a safe and collaborative environment for her actors.”The thing I hated is when a director is like, ‘OK, now you guys make love. Just do something,'” Reijn shared. “Which is how I felt as an actress my whole life,” she added.
Rather, Reijn prioritizes open interaction and detailed choreography, working closely with her actors to ensure they feel comfortable and empowered.
This approach stands in stark contrast to a story Reijn recounts about a renowned director who, while directing intimate scenes, remained distant, communicating solely through a microphone.
“So a director, very internationally famous, sat in a suit, and we [were] all the way over [there],” she says, gesturing with her hands.
“babygirl”: A Thought-Provoking Thriller that Defies Expectations
“Babygirl” follows the story of a powerful CEO (Kidman) whose life spirals when she embarks on a risky affair with a young intern (Dickinson). Reijn subverts classic erotic thriller tropes while paying homage to films like “9 Weeks” and “Basic Instinct.”
The film explores themes of desire,power,and identity with Reijn’s distinct stylistic flair,incorporating elements of dark humor and Brechtian techniques.
“Brecht. Breaking the fourth wall is an ancient thing, especially in European theater,” Reijn explains, referencing the influential German playwright.Reijn’s commitment to creating a unique and thought-provoking experience extends beyond the screen. During a recent test screening, the audience’s reactions were a mix of surprise and intrigue.
“People were really surprised,” Reijn revealed. “They didn’t expect the film to go in the direction it did. It was really exciting to see their reactions.”
With “Babygirl,” Reijn proves herself a bold and innovative filmmaker, unafraid to push boundaries and challenge expectations.
Beyond the Bedroom: ‘Nyad’ Surprises Audiences with Powerful Social Commentary
Director Elizabeth Chai Vasarhelyi’s new film, “nyad,” starring Annette Bening as marathon swimmer Diana Nyad, is making waves for reasons beyond its captivating subject matter. While the film chronicles Nyad’s historic swim from Cuba to Florida at age 64, early screenings reveal audiences are connecting with a deeper message about perseverance, aging, and societal expectations.
Vasarhelyi, known for her Oscar-winning documentary “Free Solo,” says she was initially surprised by the audience response. “I thought they might be shocked,” she confessed,”But actually,they were very much like,’Oh,this is about power dynamics. This is about…'” Vasarhelyi trailed off, her voice tinged with wonder.
The film delves into Nyad’s relentless pursuit of her dream, highlighting the physical and mental fortitude required to overcome seemingly insurmountable obstacles. But it also explores the societal pressures Nyad faced as a woman aging in a youth-obsessed culture.
Bening’s powerful performance captures Nyad’s unwavering determination and vulnerability, resonating with audiences on a deeply personal level. “Annette brings such depth and authenticity to the role,” Vasarhelyi said. “She truly embodies Diana’s spirit and strength.”
“Nyad” is more than just a sports film; it’s a story about defying expectations and embracing the power of human resilience. The film’s unexpected social commentary is sure to spark conversations and inspire audiences long after the credits roll.