Harris Dickinson’s Babygirl Role Offers a Perfect Contrast to His Character in a 2022 Oscar-Nominated Best Picture

Warning: this article contains spoilers for Babygirl.

Overview of Babygirl and Its Success

Babygirl has emerged as a captivating film from A24, following its theatrical release in December 2024. Starring Nicole Kidman, the film has garnered critical acclaim and considerable box office success, showcasing her standout performance. Critics have praised the movie for its nuanced exploration of themes such as sexuality, love, and forgiveness, linking it to contemporary issues in a fresh manner that resonates in the current era of erotic thrillers.

Harris Dickinson’s Dual Performance

Within Babygirl, Harris Dickinson takes on the complex role of Samuel, an intern whose commanding presence sharply contrasts with his character from the film Triangle of Sadness. As CEO Romy Mathis, portrayed by Kidman, navigates her life, Samuel’s assertiveness sheds light on the intricate power dynamics in their relationship. This portrayal not only highlights Dickinson’s versatility but also emphasizes the stark differences in his roles across the two films.

From Submissiveness to Dominance

In Triangle of Sadness, Dickinson plays Carl, a male model who embodies a contrastingly submissive character. His discomfort with his own appeal leads to a complex and often one-sided dynamic with Yaya (Charlbi Dean), who takes the reins in their relationship, even dictating their financial responsibilities. This stark juxtaposition showcases Dickinson’s impressive range, as he fluidly transitions from a character who struggles to assert himself to one that confidently exerts influence over Romy.

The Evolving Power Dynamics

While Carl grapples with submission aboard a luxury yacht that ultimately meets with disaster, his dynamics shift again on a deserted island, where he finds himself succumbing to the will of Abigail, the yacht’s cleaning woman. This recurring theme of subservience highlights his inability to break free from restrictive relationships, painting a vivid picture of failure to challenge the status quo.

Why Harris Dickinson Excels in Diverse Roles

Both films offer rich narratives that benefit from Dickinson’s compelling performances. In Triangle of Sadness, Carl’s struggles embody deeper themes of desire and self-assertion. His inability to articulate his wants within his relationship with Yaya captures the essence of unrealized potential—a thread that runs through the film, culminating in an ambiguous conclusion that leaves audiences questioning the nature of fulfillment.

Conversely, Babygirl allows Dickinson to sink his teeth into a role characterized by passion and dominance. As Samuel, he not only navigates the stakes of a complex relationship but also presents a character that fully embraces his desires. This dual portrayal contrasts Carl’s detachment, making Samuel’s journey of power and pleasure captivating for viewers.

Exploring Desire in Unique Ways

Though Babygirl and Triangle of Sadness engage with similar themes, their approaches to desire and consequences set them apart. While the latter critiques materialism and wealth through a satirical lens, Dickinson’s Carl struggles with his own identity and desires until a late revelation. In contrast, Babygirl intricately weaves themes of desire within Romy’s professional life, presenting a character who subverts societal expectations while engaging in a forbidden affair that carries significant ramifications for her personal relationships.

Ultimately, both films delve into the complexities surrounding their characters’ desires and the impact those desires have on their lives. The affairs in Babygirl bring about turmoil in Romy’s family life, while the relentless pursuit of wealth leads to disastrous outcomes for the characters in Triangle of Sadness. The thoughtful exploration of these themes elevates both films, making them noteworthy entries in contemporary cinema.

As audiences continue to engage with the compelling narratives of both Babygirl and Triangle of Sadness, Dickinson’s performances remain a highlight, illustrating the multifaceted nature of desire and power in relationships.

Source & Images