lucky pot Middle Age Is Sexy Now

“Babygirl,” the Nicole Kidman movie that opened on Christmas Day, starts with an orgasm. And it ends with one. Others are spread throughout. Kidman plays Romy, the poised, high-femme chief executive of a flourishing robotics company. Romy is married to Jacob (Antonio Banderas), a successful theater director. They have two teenage children, and Romy sometimes trades her pussy-bow blouses for an apron to whisk up wholesome family meals.

So far, so having-it-all. But Romy is in the business of automation and her life, personal and professional, feels automated, too. Sessions of eye movement desensitization therapy and a passing reference to having grown up in a cult hint at troubles beneath Romy’s glossy surfaces. That first orgasm? It’s fake. Then Romy meets Samuel (Harris Dickinson), a 20-something intern at her company. Tentatively, they begin an affair, with elements of power exchange. Soon Romy is on her stomach, on the floor of some dingy hotel room, growling like an animal, experiencing real pleasure.

An erotic thriller and a fairy tale, “Babygirl” moves like a moral tragedy, in which a woman is punished for her personal freedom. But it dares a happy ending — “literally and figuratively,” Halina Reijn, the movie’s writer and director, said cheekily — which is unusual. It is also a movie that treats the sexual life of a woman in midlife (Kidman is a luminous 57) with bracing seriousness — which is not as unusual as it used to be.

ImageKidman and Dickinson in “Babygirl.”Credit...A24

Last year alone offered an abundance of age-gap romances centered on women in midlife, with Anne Hathaway stripping down to lingerie in a hotel room in “The Idea of You”; Léa Drucker cavorting in the grass in “Last Summer”; Kidman again, as a writer astride Zac Efron’s action star in “A Family Affair.” Turn the calendar page back to 2023 and you’ll find Julianne Moore baking oddly suggestive cakes in “May December.”

Add to that Ali Wong’s recent, riotous hour, “Single Lady,” in which she describes the many, many men who are after her “divorced mom energy”; Molly Roden Winter’s “More: A Memoir of an Open Marriage,” a sensation last winter; and Miranda July’s “All Fours,” the book of the summer, an autofictional account of the perimenopausal narrator’s consuming passion for a much younger man. Gillian Anderson, a sex symbol in her 20s for “The X Files” and again in her 50s for “Sex Education,” recently edited and introduced “Want,” a collection of sexual fantasies. In recent years, television has contributed series such as “Big Little Lies,” “Catastrophe,” “Dead to Me,” “The Morning Show,” “Younger,” “And Just Like That,” much of Kathryn Hahn’s later oeuvre and the seemingly endless “Real Housewives” franchise.

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The Macklowes’ gallery specializes in French Art Nouveau furniture and objects; Tiffany lamps and glass; French cameo glass by Argy-Rousseau, Daum and Gallé; and lithographs by Alphonse Mucha, as well as bronzes, ceramics and antique jewelry.

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