Directed by: Marielle Heller
Written by: Marielle Heller
Run Time: 1 hour 38 minutes
In recent years the undeniable star power of Amy Adams hasn’t been shining just as brightly as it once has. Although, it’s not for a lack of trying, as she’s consistently been one of the better aspects about her more mediocre projects over the last number of years. Not since starring in Nocturnal Animals (2016) and Arrival (2016) has she enjoyed the winning combination of playing interesting and complex characters within films that too offer a similar level of prestige. Perhaps, then, her latest role in Marielle Heller’s Nightbitch will see her star power rise once more.
It’s certainly Adams’ most intriguing project in quite some time, as her role sees her portray a stay-at-home mum who slowly begins transforming into a dog. Adams’ character known only as “Mother” has recently left her job at an art gallery to raise her adorable newborn son, while her husband (Scoot McNairy) continues to work. As she becomes increasingly frustrated by her new familial situation, she begins to embrace her new animalistic nature more and more.
Heller, who both writes and directs here, adapts her screenplay from Rachel Yoder’s 2021 novel of the same name. Within it she uses many different tones, never really settling for one over the other. The opening moments, for example, set a rather comedic precedent. Mother meets an ex-colleague while shopping, and upon being asked how she’s enjoying motherhood, gives a detailed and impassioned response, only for it to be revealed that this is what she wants to say, rather than what she actually does. Heller repeatedly utilises this gag throughout the film, and it proves humorous each time.
Nightbitch boasts several other, really funny sections as well. These see Heller take aim at the often insufferable culture around mother-toddler groups and – maybe most effectively – at the lack of awareness men have when it comes to understanding just how all-consuming being a stay-at-home mum really is. Yet, classifying Nightbitch simply as a comedy wouldn’t be fair, even if it has the unmistakable appearance of one, thanks to its cinematography’s artificial, Netflix original style sheen. Because in actual fact, the main premise lends itself far more naturally to the likes of a body horror.
As Mother starts sprouting body hair in the most unusual of places and growing extra, distinctly dog-like body parts, Nightbitch starts to dabble in this more grotesque subgenre. In turn, it generates a more elaborate reaction from its audience than just laughter alone – even if there are still some moments of humour to be found alongside these more gruesome elements, as it never fully commits to this element.
Nevertheless, Mother’s transformation into the titular Nightbitch is a well-realised one, with the film’s metaphor successfully demonstrating the changes that take place in a woman’s body, both physically and emotionally, after giving birth. It also works in its display of the natural, maternal instincts that see mothers fiercely protect their young, as well as their need to sometimes simply run free. However, remove this somewhat silly overarching concept – admittedly the film’s main selling point – and a rather profound film about motherhood remains beneath it.
Adams is instrumental in achieving this. She gives such a committed performance during the sequences of surrealism while also carrying the comedy off wonderfully, and then is so good dramatically that you almost forget the film’s canine gimmick altogether. She keeps up with the constantly changing tone, able to adapt to whatever Heller’s uneven screenplay demands of her, which in this instant, is quite a lot.
Yet, despite Adams’ excellent efforts Nightbitch at times feels contradictory in what it might be trying to say. Heller rightfully highlights the way that some look down upon stay-at-home mothers, as if they have nothing of interest or value to add to society. This astute observation of hers plays out by way of some excruciating social awkwardness in one sequence where Mother goes for dinner with her old work colleagues on a rare of night off.
However, rather than effectively combat this harmful attitude that it so deftly identifies, Nightbitch simply gives in to it, seeing Mother regain their respect by starting to work again. Of course, being a parent shouldn’t be the only option available to Mother’s existence, but the specific trajectory that Heller takes her on here feels a little unfair and dismissive to those for who motherhood itself is enough.
Nonetheless, Nightbitch still offers several other more coherent and completely worthwhile musings on motherhood. And with such varied, delivery, it’s sure to keeps audiences’ tails wagging throughout its relatively short runtime. Perchance even provoking some emotion from its tender themes and touching conclusions. With such a meaty role for Amy Adams to finally sink her teeth into again too, it would appear that for her, the dog days are well and truly on their way to being over.
Star Rating: ★ ★ ★
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