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That’s a lesson we’ve learned time and again in films and politics.

In “Babygirl,” however, the tables are somewhat turned. Here, the company’s CEO is under the thumb of the intern – before the affair even begins.

It’s an interesting premise that instantly recalls other boss/employee stories that didn’t end up well. Here, though, the intern – played by Harris Dickinson – is particularly bold.

He’s introduced to Romy Mathis (Nicole Kidman), who’s the CEO of a tech company. Normally, she wouldn’t bother with the interns, but an employee insists and, soon, she’s in a private meeting that results in the intern propositioning her.

From there, it’s just a matter of time before they’re found out.

But why would she risk her standing? And what will her husband (Antonio Banderas) say once he finds out?

The questions swirl as writer/director Halina Reijn puts the story into play. Samuel, the intern, is certainly attractive. But so, too, are other men Romy meets. Is it his forceful approach? Is the preposterousness of the situation? Or is it she figures she won’t be caught?

Kidman works overtime making us see Romy’s side of the story. She’s in a troubled marriage, pressured at work and surprised that someone so young can be so confident and unyielding.

Reijn makes sure the love scenes are steamy – and adds a few twists that recall Sharon Stone some 30 years ago.

“Babygirl,” in fact, is a throwback to the times of “Basic Instinct.” It shifts the power, of course, but lets Kidman hold her own with Dickinson.

When he makes demands of her, she questions them, initially, then gets on board. It’s a subtle shift, but one that works because Kidman makes much of this seem prompted by passion.

Dickinson is ideal in this situation. He never seems to doubt his moves or explain his motives. Does he want to move up the corporate ladder more quickly? Or is he genuinely interested in his boss?

Playing naïve among his fellow employees, he’s clearly able to use the situation for greater gain – and says so. But as the relationship continues, we see another Samuel at play – one who interacts with people in Romy’s personal life.

There’s a “Fatal Attraction” moment or two, too, and confrontations that make you glad you’re seeing this from afar.

Kidman does a masterful job making “Babygirl” relevant. She doesn’t get much initial interaction with Banderas but once the truth comes out, his participation is essential.

Could it happen? Does it happen? That’s a question others could answer. But the “what ifs” Reijn proposes certainly makes for powerful storytelling.

While “Saltburn” and “Promising Young Woman” were better looks at shifting dynamics, “Babygirl” could crack the door to upending office relationships. It’s a juicy story that practically begs to be on the cover of a tabloid.