The appeal of May-December romances (aka, a pairing between a young adult and someone significantly older than them) is a perennial favorite in Hollywood, with recent entries such as Oscar-nominated films like The Reader and An Education, as well as The Idea of You.

Last year’s May Decemberwas less romantic and more of a psychological study, and the new Babygirl may need to be read as such as well, as its central figure explores avenues that many may find difficult to understand. Romy (Nicole Kidman) is the founder and CEO of an automation company who has a good if sexually-unfulfilling life with her theater director husband, Jacob (Antonio Banderas).

Her world gets upended when a new crop of interns comes to work for her company, including the handsome and very confident Samuel (Harris Dickinson). He seems to sense a desire in her that even she is unaware of, and the two of them start an affair that is atypical in almost every way. Despite her position of authority over him, Romy seems almost helpless against Samuel’s powers of persuasion, and she is soon submitting to requests that most people would reject out of hand.

Written and directed by Halina Reijn (Bodies Bodies Bodies), the film has many high points, the most pointed of which is her portrayal of Romy’s sexual desire. Romy is forthright with her sexuality, and the film starts with a sex scene that is both intense and pointed in her lack of fulfillment with Jacob. When she starts up with Samuel, it’s not a surprise, but even when Romy is being told what to do, Reijn makes sure to have every sex scene focused on Romy’s pleasure.

The relationship between Romy and Samuel is fraught for multiple reasons, including the employer-employee dynamic, the age gap, the cheating angle for Romy, and, last but certainly not least, the kinkiness of their sexplay. While the psychology of dominance and submission has been explored in other films, it is presented here in unique and humorous/disturbing ways, depending on your viewpoint.

The film is certainly never boring, both because of Reijn’s story and, more than any film in recent memory, the music. Composer Cristobal Tapia de Veer takes inspiration from the subject matter and pairs scenes with music that features breathy vocals, an element that heightens the tension, sexual and otherwise. ‘80s songs like INXS’ “Never Tear Us Apart” and George Michael’s “Father Figure” also complement the visuals well.

Kidman has seemingly been the queen of TV in recent years, but she shows here that she can still be a great film actor. No matter what the character requires, she gives it her all, and the result is a bravura performance that’s sure to earn awards attention. Dickinson is equally compelling, as he imbues his role with a boldness that gives the audience all we need to know about what type of person he is.

Due to its central premise, Babygirl will not be a movie for everybody, but for those willing to expand their minds, it has a lot to offer. The storytelling, acting, and music all combine for one of the most memorable movie experiences of the year.

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Babygirl opens in theaters on December 25.