In late August, I had the opportunity to converse with Nicole Kidman at a quintessentially elegant hotel restaurant tucked away in a Mayfair alcove. Just back from a journey across the Atlantic, where she had settled her two teenage daughters, Sunday Rose, 17, and Faith Margaret, 14, into their new school routines in Nashville, Kidman radiated a graceful presence in a white silk jacquard sundress paired with golden ballet flats. Her strawberry-blonde hair was styled into a sleek ponytail, and on one finger glimmered an exquisite emerald-cut diamond—truly eye-catching and grand, reminiscent of a luxury backdrop.
Kidman, articulate and welcoming, lightened the conversation with a charming laugh. I introduced our discussion by mentioning my focus on stories of conflict, prompting her to share that her role as a UN ambassador beginning in 2006 necessitated learning how to listen to the painful narratives of women in Kosovo, many of whom had faced sexual violence. “I would absorb them to the point where I couldn’t even function…sensorily, emotionally,” she reflected. As we delved into subjects of trauma, storytelling, and suffering, our dialogue transformed into a candid and intimate exchange. Before I noticed, ten minutes had flown by, and I realized I was in the midst of an interview.
On the surface, Kidman’s starlet demeanor is striking, unyielding, and immaculate, but beneath lies a warm sensitivity: intuitive, adaptable, and perceptive. She often describes herself as open. Her performances blend a public persona with personal depth—an impressive clarity and stillness that draws from a profound reservoir of human emotion. Reflecting on her collaborations, she shared that renowned director Anthony Minghella once remarked that she was “skinless.” “It stayed with me,” she said. “I thought: I’m not certain that’s a compliment, but now, looking back after his passing” (Minghella died in 2008), “I understand his perspective. It’s fine to be exposed, but sometimes you need to don armor to protect yourself when you’re skinless.”
WINGING IT
“How often do we think we know where our path leads, only for it to veer away from that expectation?” Kidman reflects. Maison Margiela Artisanal 2025 dress. Cartier High Jewelry earrings.
Kidman (who prefers to omit her age from conversations, considering it “ridiculous and unnecessary”) began her acting journey at the age of 14 in Sydney, Australia. She transitioned from youthful fame in Australian cinema to Hollywood prominence, starring alongside Tom Cruise in the 1990 film Days of Thunder, which marked a decade filled with red carpet appearances, acclaimed performances, and a few box office misfires. Following her divorce from Cruise, she won an Oscar for her role in The Hours and had a brief engagement with Lenny Kravitz before marrying Aussie country singer Keith Urban and settling down in Nashville. Over nearly four decades, she has seamlessly balanced art house projects with blockbuster hits, shifting from Viking revenge epics to period dramas, thrillers, comedies, and striking television series. With impressive portrayals of iconic figures such as Grace Kelly, Gertrude Bell, Lucille Ball, and Diane Arbus, her accolades are countless, and her production company, Blossom Films, founded in 2010, is flourishing. Kidman’s career trajectory, defying stereotypes around actresses over 40, is shaping a new wave of female filmmakers.
She has little affinity for resting. “Risk-taking has always been my mode of operation,” she explains. Mistakes don’t detain her long. “You rise, you try again, you learn.” Given her successes, both as an actress and producer, she has the flexibility to explore unconventional ventures. “I still revert to shoestring indie filmmaking; that’s where I got my start,” she shared, “but I can also transition into large projects like Practical Magic, which brings a tremendous amount of pressure and responsibility—balancing that weight is crucial.”
In Practical Magic 2, Kidman will join Sandra Bullock once again as co-producers, revisiting the beloved narrative of a family of witches. Kidman described her reunion with Bullock as a “joyful” experience, reflecting warmth for their families—Bullock noted in her correspondence that “our mothers both raised remarkably independent women.” I pointed out to Kidman that the theme of witchcraft has historically been employed to undermine female empowerment, and she chuckled in agreement, adding that the film’s feminist message was “neatly packaged, adorned with margaritas!”
After the triumph of Big Little Lies in 2017, co-produced with her close friend Reese Witherspoon—who she playfully mentioned she could wave to from her kitchen—Kidman committed to collaborating with a woman director every 18 months. Previously, she often fought to get films made by purchasing rights and options herself. “Suddenly,” she recounted, “it felt like a golden road.” Kidman has exceeded this ambition, having collaborated with over 20 female directors recently.
Jamie Lee Curtis, a co-producer and fellow star in the upcoming Prime Video series Scarpetta, discussed “the Nicole effect” during our conversation. “In the military, there’s a command to ‘Attention!’—that’s how her presence feels,” Curtis remarked. Kidman’s involvement adds a layer of seriousness, complexity, and depth to projects. Curtis noted her own rising opportunities, acknowledging the shift towards a less male-dominated environment in film, and commended Kidman for being a strong figure within that change. “She’s the one leading the well-known AMC cinema ads—not Brad Pitt or George Clooney or Ryan Gosling. It’s Nicole fucking Kidman.”
SOFT POWER
“Risk-taking has always been my forte,” Kidman asserts. Dolce & Gabbana Alta Moda dress. Chopard Haute Joaillerie earrings.
NEW HEIGHTS
Valentino dress and tights. Background image: Michael Ochs Archives/Getty Images.
As more female actors create their own production firms, the dynamics of roles in the industry are transforming. “The archetype has evolved beyond the Madonna-whore dichotomy,” Kidman shared. Her career mirrors this evolution, transitioning from the male gaze to a female perspective, framed by pivotal works like Stanley Kubrick’s Eyes Wide Shut, filmed in 1999 alongside Cruise—a surreal exploration of sexuality and complexity. “And I remember being confused when I first viewed it,” she confessed. “I was like, ‘Stanley, what does this all mean?’” Kubrick’s retort was, “Never ask me that!”—a humorous nod to their difference in perspective. In contrast, her recent role in Babygirl, where she portrays a CEO exploring themes of sexual submission with a younger partner, illustrates her depth as an actress. “One film closes with the word fuck and the other culminates in that very act—there’s my career in a nutshell!” she laughed.
Babygirl opens with Kidman’s character faking an orgasm. Her scene in The Blue Room at London’s Donmar Warehouse in 1998 garnered accolades, with critics referring to it as “pure theatrical Viagra” (she received an Olivier nomination for her performance). In The Paperboy (2012), she boldly confronted the taboos of sexuality in a steamy noir, while Birthday Girl introduced her to a world of bondage. Kidman even received notoriety for her controversial kiss with a 10-year-old boy in Birth, who she believed to be her deceased husband’s reincarnation.
Confronted with the question of her affinity for such daring roles, Kidman pondered, “Why am I drawn to these parts? Isn’t it strange that I can’t pinpoint it?” Deep down, she identifies as an introvert but believes that “sex is pivotal to our lives, yet it remains taboo far too often.”
Kidman identifies as a character actress. Margot Robbie, whom she worked with in Bombshell (2019), relayed her first impressions of Kidman’s acting: “She was this incredible force… a mixture of power and vulnerability that created a captivating experience. I turned to a coworker beside me and said: ‘That’s why she’s Nicole Kidman.’”
SILVER STREAK
Kidman will appear in Practical Magic 2 next year, alongside Sandra Bullock. Schiaparelli dress.
When asked about her favorite characters, Kidman quickly names Satine from Moulin Rouge! and Celeste from Big Little Lies, but she also fondly recalls her role as Grace in Dogville. The 2003 film by Lars von Trier is renowned for its bold nature, showcasing Kidman as a woman ravaged by a small town’s residents. “I enjoyed being part of such an experimental play where Lars challenged my perceptions of good and evil,” she explained. Many deem Dogville to be her standout performance. “I relish acting roles that leave me questioning and confounded,” she shared. “I thrive in spaces where I courageously step outside my comfort zone—it’s a bit like free-falling.”
Growing up, Kidman frequently had her grandmother and mother, both accomplished in sewing, create her outfits. She reminisces about standing on tables while they altered fabrics and intricately embroidered designs. Those experiences have fostered a lasting love for fashion and an appreciation for exquisite couture. “Being fitted for a dress transports me back to my childhood feeling; some days I don’t feel pretty, but in those moments, I do,” she expressed.
Catherine Martin, who designed costumes for Moulin Rouge! and Australia and is a longtime friend of Kidman’s, remarked, “Walking a red carpet transforms into a theatrical moment. The pressure and expectation can be daunting.” Kidman confronts this scrutiny with poised elegance. “At her core, she’s quite introverted,” Martin noted. “She draws confidence from embodying her characters—whatever the persona she assumes.”
“Nicole commands a presence,” designer John Galliano noted. “She possesses a rare magnetism, particularly when you know her well—her fun side is equally thrilling.” Recalling the striking dress she wore in Eyes Wide Shut, Galliano described it as “an enchanting, georgette creation.” In one memorable scene, the dress effortlessly slipped off her shoulder, and with a delicate flick, she made it drop to the floor—so chic! He also recounted the celebrated Absinthe gown for Dior that she donned at the 1997 Oscars, which left audiences in awe. “A hush fell over the room when she first appeared. She was radiant,” Galliano recalled. That moment marked a paradigm shift on the red carpet, as actors began to become ambassadors for haute couture.
Reflecting on her previous statement, I wondered if fashion served as armor for her. “At times it becomes armor,” Kidman confirmed. “Other times it’s playful or provocative—it entirely hinges on my mood. Sometimes it feels androgynous, other occasions it’s a “screw you” statement.” She perceives fashion as “an alternative artistic lifeline.” Engaging in a red carpet appearance or a photoshoot is akin to collaborating closely with a designer or photographer, establishing a creative synergy comparable to that with film directors. Luhrmann orchestrated a Chanel advertisement starring Kidman in 2004, replete with his characteristic sumptuousness, and this year she has been announced as a new ambassador for Chanel at the launch of Matthieu Blazy’s collection. Recently, she made a stylish appearance at his Paris show, exuding elegance in a simple white shirt paired with denim. “I am deeply committed to presenting that artistic piece thoughtfully,” she affirmed, discussing her approach to fashion. Reflecting on her experience with photographer Steven Meisel for Vogue in 1999, she recalled embodying John Singer Sargent portraits inspired by her role in The Portrait of a Lady. “Initially, I was resistant to viewing myself,” she shared. “And then he insisted, and it turned out to be invaluable.”
When asked about dealing with online criticism or negativity, Kidman advised, “Simply walk away! It can consume you and lead to self-destruction.” She encourages her daughters to adopt Taylor Swift’s philosophy: shake it off. Sunday Rose recently took her first modeling steps by walking for Miu Miu, a leap that Kidman acknowledged brought her anxiety. “I began working at 14, so I don’t truly have the standing to interject,” she reflected.
Kidman embodies authenticity, demonstrating little vanity. She is comfortable being photographed without makeup and embraces the emotions a scene invokes, such as crying with a flushed nose. “I cherish the variances in skin tones,” she shared. “I appreciate skin imperfections and the reality of tears.” Her willingness to age, whether up or down, for a role is evident. In Karyn Kusama’s Destroyer (2018), she adopted a near-unrecognizable appearance as a fatigued, alcohol-dependent investigator. “I’m gearing up for a role that will allow me to portray something quite macabre,” she exclaimed with excitement.
We had planned to meet again at a bookstore—Kidman is an avid reader, currently engrossed in Elizabeth Strout’s My Name Is Lucy Barton—but following the sudden passing of a close friend, she explained she was too overwhelmed with emotion to continue. Later, she elaborated, “I felt incredibly vulnerable… I’ve encountered many abrupt losses in my life, and it’s heartbreaking.” Kidman values her close family connections. Since the passing of her father in 2014 and her mother in September last year—coincidentally on the day she was to receive a best actress award for Babygirl at the Venice Film Festival—her commitment to family guidance remains robust. “Though others suggested I still attend the ceremony, I paused and realized, ‘No, I can’t, I don’t want to, and I won’t.”
This ethos of duty remains strong, but she recognizes the need for self-care. “At this point in my life, I’m standing up for my right to protect my well-being—it’s similar to what Virginia Woolf advocated—it’s my right as a human being.”
As a producer, Kidman is enjoying greater creative control. The production of Scarpetta occurs in Nashville, leading to a sense of normalcy in her life. Kidman and Bullock aimed to film Practical Magic 2 in London during the summer to share the experience with their children. “Our families reveled in the time spent together: visiting Hyde Park, attending concerts, enjoying Glastonbury and Salisbury, and embracing numerous summer moments—seeing [Evita], the theater, and swimming at Hampstead Heath. We traveled to Portugal and Greece, surrounded by family and friends, including my sister, my lifelong best friend, and their children—a tightly-knit circle.”
A few weeks after our conversation, news of Kidman’s separation from Urban surfaced (she would file for divorce later in September). Throughout our dialogue, I had sensed a change, though I refrained from asking directly. When I inquired about her feelings as she navigates her 50s, I predicted a platitude about wisdom and maturity; instead, Kidman responded with candor, reflecting, “How frequently do we learn that what we think we know about our lives can shift so unexpectedly?”
In Nashville, she draws strength from her close circle of friends, including Witherspoon, a leading cancer specialist at Vanderbilt Hospital (“I am deeply involved in their cancer research initiatives”), and another friend running a hospital. “Those ride-or-die friendships mean the world,” she laughed appreciatively. The joys and sorrows of life become inspiration for her artistry. “I channel these experiences into my work. That’s the beauty of my profession. There’s room for this to transform, whether through control or exploration.”
FACE IN THE CROWD
Kidman’s upcoming endeavors include the series Scarpetta, adapted from the Patricia Cornwall novels, and Margo’s Got Money Troubles alongside Elle Fanning. She dons Celine.
Kidman keeps a journal, documenting her dreams, later choosing to burn the pages after review. Hesitantly, she revealed, “I’m thinking about writing.” The notion remains delicate, “but there’s a treasure trove of insights within me waiting to blossom.” While she has never directed due to time constraints, writing feels like it could be a potential path. “Or perhaps a necessity,” she countered.
A series titled Margo’s Got Money Troubles, featuring Elle Fanning, is set for release next year, alongside a second season of Scarpetta. Her production company is poised, with numerous projects lined up, reminiscent of airplanes making their approaches at JFK.
“The wealth of topics I wish to explore, yet so little time to articulate them,” Kidman expressed, contemplating themes such as death, life, joy, grief, sexuality, truth, and existence. Her playful tone illuminated her wonder: “Do parallel universes truly exist? What does the future hold? Are we merely dreaming, or is this our reality? Why persist in working?” she implored. “Why stop? Tie me down if you want!”
Staff Credits: Hair by Adir Abergel; Makeup by Gucci Westman; Nail artist Cam Tran; Tailor Ella Ventress Bone.
Produced by REPRO Agency. Set Design by David White. Movement Director: Pat Boguslawski.
