Nightbitch (2024) Review
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.