Overview
A woman, thrown into the stay-at-home routine of raising a toddler in the suburbs, slowly embraces the feral power deeply rooted in motherhood, as she becomes increasingly aware of the bizarre and undeniable signs that she may be turning into a dog.
Adapted from the novel by Rachel Yoder, Nightbitch sees Amy Adams play a mother of a 2 year old whose husband (Scoot McNairy) works away from home through the week, leaving her to dedicate her time to raising their son. Despite her love for her child, the mother feels that she has lost herself to the role, and finds no time for herself and her past life in the art world, as well as not finding anything to bond with other mothers over. Also, she starts to believe she is turning into a dog.
If that sounds a little weird, then rest assured that it is, but is actually also a smart insight into motherhood. The dog aspects can be seen as some sort of magical aspect to film – which when coupled with the mother’s dreamlike remembrances of her own mother suggest it is a biological condition passed along her family line – or it can be viewed as a metaphorical desire to break free, and find your true self of identity. Adams’ character feels lost in the role of a perfect housewife, and seeks a way to express herself. Her husband, on his short weekend visits home, doesn’t help out with the raising of their son, and this additional burden puts strain on their relationship. By running free as a dog, in the company of a pack of other dogs (who may or may not also be representations of other mothers close to Adams), she gains a new life and focus, and finds a way to bring that animal aspect to her bond with her son in a unique way.
Marielle Heller’s film is sharply funny, deliciously poignant, and an engrossing analysis of the pressures of raising a child. Adams is marvellous in the central role, and her on screen bond with the youngsters playing her son feels entirely natural. There are moments between the pair that don’t feel scripted, with the young actor simply chattering away as toddlers do, and her reacting to that chatter, which are charming and warm whilst also pushing the narrative along fluidly. Scoot McNairy proves his worth in a challenging role as the father who is distant, but not through his own choice, making for a character who it would be easy to have some hate for if he was handled differently, but you sympathise with to some degree as he is never portrayed as being a bad father – just one whose circumstances have made him distant.
This is a wonderful examination of the family dynamic, and what it means to raise a child whilst trying desperately to retain a sense of self, which any parents will find so much truth to. A much stronger film than the trailers seemed to suggest, Heller has delivered a smart tale with (possibly) magical elements.