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Nicole Kidman has defined why she had to pause taking pictures sex scenes for her forthcoming film Babygirl.
The drama, made by Bodies Bodies Bodies filmmaker Halina Reijn, follows a strong CEO who jeopardises her profession and household life by having an affair with a youthful intern.
Kidman, 58, stars alongside Antonio Banderas, 64, as her husband and The Iron Claw star Harris Dickinson, 28, who performs the worker that turns her life the wrong way up.
Speaking to The Sun, Kidman revealed that performing scenes with Banderas and Dickinson at occasions grew to become too intense.
“There was an enormous amount of sharing and trust and then frustration. It’s like, ‘Don’t touch me,’” she stated.
Kidman continued: “There were times when we were shooting where I was like, ‘I don’t want to orgasm any more. Don’t come near me. I hate doing this. I don’t care if I am never touched again in my life! I’m over it.’
“It was so present all the time for me that it was almost like a burnout,” she added.
The Oscar winner stated she was initially attracted to the sexually charged venture as a result of it was “an area [she’d] never been” earlier than.
“I’ve always been on a quest as an actor,” she defined. “I’m always going, where have I not been? And what can I explore as a human being? And this was an area I’d never been.”
Kidman has already acquired essential recognition for her efficiency in Babygirl following the movie’s premiere on the Venice Film Festival, the place she was awarded Best Actress.
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Writing from Venice, The Independent’s Geoffrey Macnab stated of her efficiency: “We’ve all seen Kidman in TV dramas like The Perfect Couple and Expats, giving accomplished but slightly stiff and mannered performances. Here, she digs much deeper.
“Reijn is one of the Netherlands’ most respected stage actors, well known for her work with the controversial Ivo van Hove,” he added of the movie’s director.
“She elicits Kidman’s best performance in years as the headstrong, fiercely independent business woman whose sexual submissiveness never seems like weakness. A film that could have slipped into voyeuristic prurience is instead witty, subversive and emotionally revealing.”
In her director’s assertion at Venice, Reijn stated that the affair on the coronary heart of Babygirl permits Kidman and Dickinson’s characters “to play out their confusion around power, gender, age, hierarchy, and primal instinct.
“Despite its forbidden nature, the joy of that exploration is liberating, even healing.”
Babygirl can be launched in cinemas on 10 January, 2025.
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