Nightbitch Review: Amy Adams Elevates A Quirky Motherhood Metaphor [TIFF 2024]

As a gamer with over two decades of experience under my belt, I’ve seen more movies than I can count, and “Nightbitch” is undoubtedly one of the most unique films I’ve encountered. Amy Adams’ transformative performance as Mother, the stay-at-home mom who turns into a dog (or so she thinks), is truly captivating. The film’s exploration of femininity and motherhood is both hilarious and thought-provoking, making it a must-watch for anyone who appreciates a good dose of quirky humor with their drama.

The agent of Amy Adams conveyed: “For now, you’re secure.” In truth, comparing “Nightbitch” to her best work since “Arrival” in 2016 might be seen as a subtle criticism, considering the string of flops such as “Hillbilly Elegy,” “Dear Evan Hansen,” and disappointing franchise entries like “Justice League” and “Disenchanted.” However, Marielle Heller’s enchanting realist comedy, adapted from Rachel Yoder’s book, is not only entertaining but also an exceptional platform for the remarkable talent that initially captivated audiences with Adams’ performances.

In simpler terms, the actress, Adams, plays a character who was once an artist and later became a stay-at-home mother. Struggling with the stresses of parenting, her character undergoes a transformation, both mentally (and in her own view, physically) into a dog. Her portrayal offers a perfect blend of borderline madness and feminist fury, making the performance both amusing and relatable. “Nightbitch” has potential to secure Adams her seventh Academy Award nomination. However, for it to win, it would need to be on par with movies like “Everything Everywhere All at Once” or “Poor Things,” which are recognized for their unique artistic achievements despite initial resistance to their unusual aspects. Despite Adams’ exceptional performance, “Nightbitch” is a good movie but not quite great – and surprisingly, its main hindrance to becoming great might be that it isn’t strange enough.

An exploration of feral femininity

In Marielle Heller’s screenplay for “Nightbitch,” there’s a strong novelistic quality due to its consistent flow of heightened inner thoughts. Unlike most characters in this year’s TIFF films like “The End,” the main characters here, notably Amy Adams’ character (who isn’t given an official name), engage directly with the audience, expressing her concerns and worries, sometimes through narration and other times by breaking the fourth wall. Even during conversations with other characters, she frequently slips into her inner monologue, using hyper-literary, neurotic feminist language that often adds humor to comedic scenes, but can feel a bit heavy-handed in more serious moments.

In simpler terms, the main themes of “Nightbitch” – such as the pressure on women to abandon their careers for child-rearing, the lack of societal appreciation for full-time parenting (especially in American society), the power found in channeling suppressed feminine anger and embracing one’s inner strength, and the comparison between women and animals – may not be groundbreaking ideas for those already deeply engaged in these discussions. The canine metaphor isn’t entirely original, as it shares similarities with Marianna Palka’s 2017 film “B*tch,” which was made before the release of the “Nightbitch” novel. For audiences who found Greta Gerwig’s “Barbie” enlightening in terms of feminism, “Nightbitch” could serve as a more advanced Feminism 102 course, specifically focusing on motherhood.

In a different wording, the filmmaker Heller labels “Nightbitch” as a comedy intended for women and a frightening ordeal for men. However, it remains debatable whether the audience’s reactions will strictly fall along these gendered lines due to the predominant comedic tone over horror elements. Although mothers may find the humor more relatable, the jokes are universally amusing regardless of personal experiences. While some potentially scary aspects might include a grotesque growth related to the mother’s “tail” and an expected but distressing animal death, I struggle to identify any gender-specific factors that would make these scenes more terrifying for men. At most, there may be a slight discomfort among some male viewers when confronted with certain jokes revolving around periods.

Not wild enough?

In “Nightbitch,” the most captivating moments occur when the character, Mother, displays her wilder traits. The scene that particularly stood out for me is where she engages in a playful role with her Son, who is portrayed by twins Arleigh Patrick Snowden and Emmett James Snowden. This unusual situation, caused by her condition, is turned into an advantage, leading to an improvement in her parenting skills. This transformation is illustrated in a humorous sing-along montage set to Weird Al Yankovic’s “Dare to Be Stupid.” A dinner with her old artist friends serves as a comic highlight, reminiscent of Nicolas Cage at his most eccentric, as she realizes how her viewpoints have shifted from her former companions (the only other mom in the group can afford a nanny), leading to an explosive outburst.

Despite what one might anticipate, the eccentricities related to lycanthropy in “Nightbitch” comprise a relatively minor aspect of the story. Instead of embracing an over-the-top camp style, this work is only slightly quirky compared to Marielle Heller’s previous film, “A Beautiful Day in the Neighborhood.” This movie, though labeled as a stylized portrayal of Mr. Rogers, was fundamentally about a melancholic journalist interacting with him. In comparison, “Can You Ever Forgive Me?”—a film about being gay and committing crimes—was already a few steps removed from the ordinary. As Heller’s comedies that explore depression gradually veer towards the offbeat, I wonder if she will continue to push boundaries in her future projects.

In “Nightbitch,” as the climax moves away from the initial intrigue and delves deeper into Mother’s strained marriage with Husband (Scoot McNairy), it begins to echo the “Lord of the Rings: Return of the King” predicament, where several scenes seem like potential endings, making the movie feel prolonged despite its 98-minute runtime. Thankfully, the final scene is satisfying and promises to strike a chord with many women in the audience. Motherhood, as portrayed in this film, is both a struggle and a wonder – a biting reality and a remarkable miracle.

The movie titled “Nightbitch” made its debut at the 2024 Toronto International Film Festival, and it is set to be released in cinemas on December 6.

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2024-09-09 23:30