Ripe and taut: loud cliché rolls? Kidman plays rich and beautiful again

Grazil, graceful, one appearance: Nicole Kidman is one of the really big film stars. The actress, now 57, always seemed to be particularly changeable. But in recent years there has been criticism: this smooth skin, this look of a porcelain figure – it had something done, right? And also: Déjà vus in their choice of roles. The impression: Kidman has already played that recently.

Whether in the new movie “BabyGirl” (your most revealing since the Kubrick plant “Eyes Wide Shut” 1999) or in the Netflix series “A new summer” (Original: The Perfect Couple)-or already in the HBO series “Big Little Lies”: The American-Australian Actrice often represents wealthy women, behind whose cool facade it is actually boiling. Their feelings are in motion despite the fossilized face.

In the past, the range of the work name diva seemed to be far larger. In the music film “Moulin Rouge” she was the femme fatal and coveted Kurtisane Satine, a children’s murderer in the mystery thrile “The Others”, in Lars von Trier’s minimalist “Dogville”, which takes revenge mercilessly.

Hardly anyone has a versatile filmography as Kidman

In their dozens of films, everyone will find at least one fascinating work from which they can be a fan: “On the way to Cold Mountain”, “The women of Stepford”, “Australia”, “The Interpreters”, “The Killing of a Sacred Deer” , “The Lost Son”, “Bombshell – the end of silence”.

If you looked for similarities in the stars of the golden Hollywood era for her type of woman and the stinging blue eyes, then Kidman always reminded many of Grace Kelly. She has already portrayed it: in “Grace of Monaco”.

In the erotic thriller “Baby Girl” she now plays a mature business woman after Grace Kelly aka Princess Gracia Patricia, who gives her sexual fantasies with an outrageous intern (Harris Dickinson).

Women with younger lovers, women who enforce their own morals. That fits me, Kidman seems to say himself more mature. She had already had the 20-year-old washboard belly star Zac Efron as a lover: in “A Family Affair” (2024) and in “The Paperboy” (2012).

So far, Kidman has been nominated five times for the Oscar. So far – in 2003 she won from eternity for her role as Virginia Woolf in the time and psycho -drama “The Hours – from eternity to eternity”.

At that time, her face was a topic of conversation for artistic reasons: in the Michael-Cunningham adaptation by Stephen Daldry, Kidman wore the wrong nose for more Woolf similarity.

Kidman’s appearance was and is always an issue

Since then it has gotten nasty when it came to Kidman’s face. As hard and much crowned as Kidman, only a few other world stars (such as Meg Ryan or Madonna) were said to be dignified. This talk about beauty operations is a kind of sexism, some say. In any case, (female) stars have to find a way to deal with it.

Kidman was ridiculed as a mimin without facial expressions for some time. She has a so -called Frozen Face. Her laughter seems bad, the mouth smile, but the upper part of the face no longer takes part, was frozen.

She herself said little about it, admitted botox treatments just to emphasize that she no longer does it. However, some beauty docs still like to appreciate that there could have been streamlined by filler, laser therapy, facelifting with hidden cuts, radio frequency or ultrasound treatments or anything else.

Brave scenes in the new erotic film “Baby Girl”

As if Kidman wanted to judge the obsession with her body, the stink finger, the diva is now playing more women’s figures who are overbuddling about small -scale concerns. In “Baby Girl” the 57-year-old exposes herself in many ways. She is sexually humiliated, you can see naked.

But the scene in which the CEO named Romy is treating itself to Christmas is most courageous. At home she comes across incomprehension. “What do you do?” Asks the teenager daughter and gets together maliciously the cheeks: “You look like a dead fish!”

The mother’s reaction to it is neither shame nor recognizable anger: just an ambiguous silence.