Canina

Amy Adams really does throw herself into this as mother to a young lad whom she looks after whilst her husband (Scoot McNairy) goes to work - frequently for many nights at a time. There's no suggestion of infidelity, but gradually she begins to feel the strains of this relentless young lad's activities. He rarely wants to sleep, is always full of beans and has a penchant for repeating the odd expletive at exactly the wrong time! It's when she starts to notice some unwanted bodily hair, then some seemingly enlarged incisors that she begins to worry if she isn't undergoing some sort of transformation. All of a sudden, dogs start to show a special interest in her and she and their youngster start to play doggy a great deal more... She also finds herself experiencing flash-backs of her own mother and of her erratic behaviour. Might it be something in the genes? It's Adams's performance that stands out here, otherwise it's a really disappointing attempt at an horror story that falls between a multitude of stools. The character - few actually have names - vacillates between adoring mother (and, occasionally, wife) and maniac entertainingly enough for a while but then it becomes repetitive to no end. Sure, she's exhausted with her childcare responsibilities but why is that different to any other parent (not necessarily a mother) when faced with a child keen to explore and prone to tantrums. The marital relationship is presented in an wholly skewed fashion as if poor old Scoot - who was missing large chunks of their son's development - was somehow in clover whist she sacrificed her life and career as the "home-maker". In the end, once the humour had subsided, I found this a rather dull rant of a movie that contrived to suggest that this was a woman unique amongst parents, and that motherhood was somehow more visceral than fatherhood. What horror elements there are are entirely undeveloped and by the end I was just a bit bored. I did like the exhibits in her gallery, though - ideal for the Christmas tree, and the young lad (I think there were twins) was the real star of the proceedings.

I enjoyed this movie. I went in blind so I had no idea what to expect. I kept thinking what the heck am I watching? This movie is so bizarre. But honestly it's just a way to get the message across. Moms lose themselves. And this story is raw and real to what most of us feel. We love our kids more than anything in the entire world. We don't regret them. But we do at times miss the person that we lost when we entered motherhood. I think a lot of the negative reviews that this movie gets are either from men or women who haven't experienced motherhood. You don't know until you're there. And I appreciated the honesty of this movie. We as mothers are trying to live up to the stereotypes of what a good mom is. Not only do we struggle with the changes it brings but also trying to live up to the people who seem like they have it all figured out. We don't get to see that we all struggle. We all pretend like everything is great. Because if we don't then we are weak and we are bad moms. I liked watching a story that shows that maybe we're all struggling to figure it out.

What happened to my wife?" (Father). "She died in childbirth!" (Mother)

Nightbitch is the Swiss Army knife of motherhood psychoanalysis. The joys and sorrows of leaving a profession as an artist to raise a child are in full display as Mother (Amy Adams) eventually sees the downside of motherhood while clueless Father (Scoot McNairy) goes off to work several days in a row most times.

The reality of a job that pays nothing and leaves her sleepless while former colleagues prosper happily merges into Mother's fantasy (?) of becoming a dog. The feral aspect of this motif is handled deftly by writer-director Marielle Heller so that the film is much less horror than the title suggests. Any woman in middle-age, even with an aging parent to tend rather than a child, can identify with the contradictory emotions emerging regularly.

Nightbitch shows that even the all-consuming love of the caregiver is not enough to stem the resentment that can eat away at her happiness. When Mother scrapes the floor for food like a hungry dog, the point is well taken about the primitive nature of survival.

Mostly the loss of one's calling, in Mother's case as an artist, seems the greatest cut of all. But, then, our society has not yet fully embraced the idea of retaining or returning to one's gift during or after child-rearing. At one point, Father admits to never having thought about the necessity of tending to Mother's talent beyond nurturing.

To give dad his due, he was blindsided by her wish to leave her profession, never having been trained to explore motivations more fully. Nightbitch skirts analysis of Father's role probably because it would compromise the attention to the film's core subject-Motherhood. While the film is part deconstruction of the role and bodily horror (try to watch her discover a tale protruding from her backside!), it surprisingly exposes the many sides of parenthood through common sense, little horror, and some magic realism.

Amy Adams should be Oscar-nominated for the 9th time. She's that good and may win this time. As for the audience, the trip home should be full of discourse about the complicated jobs of parents and, by extension, caregivers. It can be a "bitch" and the grandest calling of all.

While it's not something that worked much for me overall, I do think Nightbitch is going to be a few peoples favourite movie of the year and I'm not so in love with my own opinions that I can't see why. Because despite it's more outlandish elements it really does feel like an authentic portrayal of motherhood and one that I did find eye opening in some ways. Amy Adams is probably the best she's be in nearly a decade in this movie in a performance that feels pretty fearless and it's a character I was on the side of from the very first scene in large part because of her work. What sinks the movie for me though is the techniques Marielle Heller uses to tell this story. The more outlandish elements didn't really work for me and it just kept feeling like it was taking away from the realistic drama on display. It's all very unsubtle with how it explores its themes with a lot of narration and fourth wall breaks that I found to be really grating. The whole idea of this character believing she's turning into a dog did take the film in some interesting directions but it didn't really feel like it was wrapped up in any meaningful way so it just ended up feeling like a strange choice that didn't amount to much for me. I also really didn't care for the husband character played by Scott McNairy but for all the wrong reasons. His character just feels like he's lacking majorly in depth and if his character had been fleshed out more the drama could've been more powerful. Nightbitch is admirably ambitious in how it takes a unique approach to its subject matter but it ultimately didn't come together for me. Amy Adams is great as always and I'm glad she's still capable of putting in a performance of this calibre but I'm still finding myself frustrated with the actual projects she chooses.

In 2021, Rachel Yoder's debut novel 'Nightbitch' was released, to critical acclaim. Partly-autobiographical, the surreal story was described by The Guardian's Lara Feigel as being "an important contribution to the engagement with motherhood that rightly dominates contemporary feminism." Slate's Rebecca Onion, while acknowledging some of the story's faults, noted that "as a meditation on the radical evolution parenthood demands, it's perfect."

With such overwhelming praise, it was only natural that a film adaptation should follow. Written and directed by Marielle Heller, 'Nightbitch' follows a mother (known only as Mother) whose life has changed drastically after the birth of her son (known as Son). She used to be an artist of some renown, but now is a stay-at-home-mum. Her husband (guess what he's known as) travels frequently for work, leaving her to navigate the overwhelming demands of parenthood alone. As the pressures of her new life mount, something strange occurs: Mother believes she is turning into a dog.

On paper, it sounds like a darkly comic, Kafkaesque exploration of identity, motherhood and the primal instincts that lie beneath our civilized facades. However, Heller never allows the story run wild, holding back the leash, as it were. Although there are some comedic, inspired lines of dialogue, and perceptive moments- particularly during Mother's interactions with her group of fellow mothers- there is also quite a bit of pretension, from stilted, preachy monologues to the central character's names- or lack of them.

Additionally, the film doesn't add significantly to the discourse, leaving one out in the cold in the kennel. Heller's examination of female rage and the primal instincts of motherhood, while central to the narrative, don't feel profound or original. The film treads familiar ground without offering new insights or perspectives. Instead of delving deeper into the complexities of its themes, it skims the surface. The story's potential brilliance is diluted by Heller's reluctance to fully embrace the wildness of its premise.

In contrast, Coralie Fargeat's 'The Substance' demonstrated how feminist body horror can be both profound and innovative. While different in style and narrative approach, 'The Substance' similarly explores themes of female identity and bodily transformation, but does so with a raw intensity and originality that 'Nightbitch' sorely lacks. Fargeat's film doesn't shy away from pushing boundaries, providing a visceral, wildly entertaining and thought-provoking experience.

Heller's is simply not in the same league. However, while 'Nightbitch' may fall short of its potential, it is not without merit. It provides a platform for discussing the often-taboo topics of maternal frustration and identity loss, even if it doesn't capitalize on these themes. The film's attempt to balance dark humour with existential dread is ambitious, and although it doesn't really succeed, it does contain moments of genuine insight and resonance.

Moreover, from a technical standpoint, there are elements deserving of praise. Brandon Trost's cinematography is striking, while the score is generally stirring. In addition, Anne McCabe's editing is terrific at generating momentum, while emphasising the banality of Mother's day-to-day life. In addition, the make-up and effects- though not used to the same extent (or to the same effect) as in 'The Substance'- are commendable; if underused.

Furthermore, Amy Adams delivers a powerful lead performance. A consistently accomplished actress, she brings a nuanced blend of vulnerability and ferocity to the role of Mother. Her ability to convey the emotional turmoil of the character is a highlight, making even the film's weaker moments more engaging and impactful. The whole film, in fact, only works because of her; she carries it completely.

Scoot McNairy does typically fine work as Husband, elevating the underwritten part and making him compelling, despite his faults, while twin brothers Emmett and Arleigh Snowden, in their first credited roles as Son, cannot be faulted. Moreover, the great Jessica Harper is criminally underused as a mysterious librarian, stealing the too-few scenes she's in.

In conclusion, Marielle Heller's 'Nightbitch' is a bit of a shaggy-dog story. While it doesn't realize the wild potential of its source material, it contains brief moments of profundity and emotional resonance, and features a terrific central performance from Amy Adams. Boasting fine cinematography, as well as a stirring score, and cannily edited by Anne McCabe, it is worth a watch for fans of Rachel Yoder's novel, even if it will leave one howling for more.