Because he doesn’t treat her like everyone else does?
Harris: Exactly. Samuel notices early on that she’s someone who’s usually revered, respected, even feared. He doesn’t respect any of that. It’s the starting point of their relationship.
So his recklessness is kind of a breath of fresh air for her?
Harris: Yeah, I think so. People in her position are so used to everyone being polite, respectful, and scared of them. Samuel doesn’t play by those rules, which catches her off guard.
On the surface, people might say the film is about sex, but for me, it’s about how you can’t run from yourself forever. No matter how much you try, it’ll always bubble up to the surface.
Harris: Absolutely. That’s a great analysis. The film uses sex as a mechanism to explore repression, restraint, and control. It’s about what happens when we’re not adequately liberated in all senses of the word. Halina [Reijn – Babygirl’s writer and director] talks beautifully about the idea of wrestling with our own anger and darkness. Samuel’s confused about how to deal with his own darkness, and I think that’s something a lot of young men are struggling with today.
I also loved how your character was the only intern brave enough to speak up. It ties into what you’re saying about the need for open conversations.
Harris: Definitely, and it’s interesting how the AI and robots in the film are there to make life easier, but they also reflect how humans limit themselves. Romy’s journey shows that, even as she’s exploring freedom, she’s also contributing to systems that trap people.
