December 4, 2024
FILM: NIGHTBITCH
DIRECTED BY: MARIELLE HELLER
STARRING: AMY ADAMS, SCOOT MCNAIRY, ARLEIGH & EMMETT SNOWDEN
RATING: 3 ½ out of 4 stars
By Dan Pal
Earlier this year we saw Demi Moore get in touch with a younger version inside her in The Substance and Sebastian Stan shed a facial disfigurement in A Different Man. Some say these are part of a new genre of body horror films about characters unhappy with their physical bodies and in need of some sort of transformation. Director Marielle Heller (Can You Forgive Me?, A Beautiful Day in the Neighborhood) now brings to the screen the story of a mother, played by Amy Adams, who has become so consumed by her life taking care of her son that she begins to believe she is becoming a dog. While all three of these films have significant merits, this one, believe it or not, may be the most grounded in reality.
We learn very early on through internal monologues and visual fantasies that Mother (none of the characters has a given name) fears she’ll never be smart again, doesn’t love being at home with her son, is bored, and considers herself “the worst mother in the world.” What we see though is that she is a completely devoted mother with a very good relationship with the boy. The problem is that her husband (Scoot McNairy) works a job which requires him to travel and spend long hours working at the end of the day. He has little time or knowledge about what it takes to care for the son. Mother was once a painter whose work was displayed in galleries. She now resents not having the time she used to have to express that part of herself.
Some may look at this character and think she is being selfish but I think it’s just the opposite. Heller and Adams don’t develop the character as one who is evil and uncaring, she just needs to have some space and to find herself once in a while. This is where the dog metaphor comes in. Mother thinks she is feeling and growing the physical attributes of a dog. She even begins to have a heightened sense of smell and plays like a dog with her son. However, unless one only looks at the surface, Mother is simply “unleashing” the power she has within. Heller rarely goes over the edge with this metaphor and creates a narrative that is grounded in many women’s own struggles after giving birth.
I’m not a mom, but I’d guess a lot of women will be able to relate to Mother. The film doesn’t try to sugarcoat what it’s like for someone to give up everything to raise a child. Rather it attempts to try to equalize the role that both parents should have in the process. Heller’s script (which is co-written by Rachel Yoder who also wrote the novel that the film is based on) emphasizes how the cycle of women and motherhood has been going on forever and will continue to do so. There just needs to be more balance between mom and dad. Mothers also need some space and time alone. This doesn’t make them bad moms.
Amy Adams remains at the very top of her game as Mother. Whether it be showing maternal instincts toward the boy, displaying anger at dad, or feeling the uncomfortableness of friends and colleagues that are in a completely different head space, Adams masterfully expresses each turn of the character. She is front in center in every scene and never ceases to remain Mother while revealing the complicated layers of this persona.
Twin boys play her son and they are fantastic. Whether they were directed this well or have a natural ability to remain focused in a scene is nothing short of astonishing. The rapport that they have with Adams feels completely genuine.
Heller creates a very interesting landscape which gives us a multi-dimensional perspective on motherhood, particularly those who have also had a strong career before taking on the role. The film doesn’t suggest that the character made her choice and must now live with it. Instead it makes a strong case that equitable parenting can assist women in being true to themselves and find that inner dog within.
Nightbitch opens this week in theaters.
FILM: NIGHTBITCH
DIRECTED BY: MARIELLE HELLER
STARRING: AMY ADAMS, SCOOT MCNAIRY, ARLEIGH & EMMETT SNOWDEN
RATING: 3 ½ out of 4 stars
By Dan Pal
Earlier this year we saw Demi Moore get in touch with a younger version inside her in The Substance and Sebastian Stan shed a facial disfigurement in A Different Man. Some say these are part of a new genre of body horror films about characters unhappy with their physical bodies and in need of some sort of transformation. Director Marielle Heller (Can You Forgive Me?, A Beautiful Day in the Neighborhood) now brings to the screen the story of a mother, played by Amy Adams, who has become so consumed by her life taking care of her son that she begins to believe she is becoming a dog. While all three of these films have significant merits, this one, believe it or not, may be the most grounded in reality.
We learn very early on through internal monologues and visual fantasies that Mother (none of the characters has a given name) fears she’ll never be smart again, doesn’t love being at home with her son, is bored, and considers herself “the worst mother in the world.” What we see though is that she is a completely devoted mother with a very good relationship with the boy. The problem is that her husband (Scoot McNairy) works a job which requires him to travel and spend long hours working at the end of the day. He has little time or knowledge about what it takes to care for the son. Mother was once a painter whose work was displayed in galleries. She now resents not having the time she used to have to express that part of herself.
Some may look at this character and think she is being selfish but I think it’s just the opposite. Heller and Adams don’t develop the character as one who is evil and uncaring, she just needs to have some space and to find herself once in a while. This is where the dog metaphor comes in. Mother thinks she is feeling and growing the physical attributes of a dog. She even begins to have a heightened sense of smell and plays like a dog with her son. However, unless one only looks at the surface, Mother is simply “unleashing” the power she has within. Heller rarely goes over the edge with this metaphor and creates a narrative that is grounded in many women’s own struggles after giving birth.
I’m not a mom, but I’d guess a lot of women will be able to relate to Mother. The film doesn’t try to sugarcoat what it’s like for someone to give up everything to raise a child. Rather it attempts to try to equalize the role that both parents should have in the process. Heller’s script (which is co-written by Rachel Yoder who also wrote the novel that the film is based on) emphasizes how the cycle of women and motherhood has been going on forever and will continue to do so. There just needs to be more balance between mom and dad. Mothers also need some space and time alone. This doesn’t make them bad moms.
Amy Adams remains at the very top of her game as Mother. Whether it be showing maternal instincts toward the boy, displaying anger at dad, or feeling the uncomfortableness of friends and colleagues that are in a completely different head space, Adams masterfully expresses each turn of the character. She is front in center in every scene and never ceases to remain Mother while revealing the complicated layers of this persona.
Twin boys play her son and they are fantastic. Whether they were directed this well or have a natural ability to remain focused in a scene is nothing short of astonishing. The rapport that they have with Adams feels completely genuine.
Heller creates a very interesting landscape which gives us a multi-dimensional perspective on motherhood, particularly those who have also had a strong career before taking on the role. The film doesn’t suggest that the character made her choice and must now live with it. Instead it makes a strong case that equitable parenting can assist women in being true to themselves and find that inner dog within.
Nightbitch opens this week in theaters.