Nightbitch // By Marielle Heller. Starring Amy Adams, Scoot McNairy and Arleigh Snowden.
In contemporary cinema, certain works attempt to explore universal themes with original approaches. Nightbitchdirected by Marielle Heller (L’extradinaire Mr Rogers, The Diary of a Teenage Girl et The Manhattan Counterfeiters), is one of these daring projects. With an intriguing synopsis – a stay-at-home mother convinced to transform into a dog – the film promised a unique exploration of the difficulties of motherhood and the identity upheavals it engenders. Unfortunately, despite a few notable moments, the whole thing turns out to be uneven, oscillating between incisive satire and conventional drama.
After the birth of her son, a former artist stays home and begins to develop a fear of turning into a dog.
At the heart of Nightbitch is a reflection on motherhood, but not the idealized one that we often see. Here, motherhood is depicted as a devastating force, capable of erasing all traces of individual identity. The film tells the story of “Mother”, a promising artist who gave up everything to care for her young child. Quickly, she found herself overwhelmed by a monotonous daily life and overwhelming responsibilities. Far from being a period of fulfillment, motherhood becomes for her a downward spiral where she gradually loses what defined her. The starting point is fascinating.
It highlights a rarely discussed aspect of parenting: this feeling of abandoning a part of oneself for the benefit of one's role as a parent. Through the eyes of “Mother”, we witness a gradual deconstruction of her previous life. Her intellect, her artistic aspirations, and even her self-esteem fade in the face of her child's constant needs. This look, although uncomfortable, allows us to address taboos around motherhood with a biting tone. The great originality of Nightbitch lies in his choice to explore this existential crisis through a literal transformation. When “Mother” begins to notice hairs on her body and experiences canine instincts, the film shifts into a mix of psychological drama and fantasy.
This metaphor, although extreme, symbolically reflects the return to a primal state, a quest to regain a connection with one's natural instinct and, perhaps, a form of freedom. However, while this idea is bold, it is not fully exploited. The scenes where the transformation actually manifests are too brief and often treated as secondary elements. This choice attenuates the emotional and narrative impact of this metaphor, which could have been a real common thread for the film. One of the strengths of Nightbitch lies in its corrosive tone. The film does not shy away from laying bare the absurdities and social pressures that surround motherhood.
From acerbic dialogues to burlesque situations, there is a clear desire to break the smooth and idealized image of the perfect mother. The interactions between “Mother” and the other characters, notably her often absent husband or the group of mothers she meets, offer particularly well-felt moments of satire. However, this balance between dark comedy and drama falters as the story progresses. If the first half of the film captivates with its audacity and acid humor, the second half runs out of steam. The tone becomes more consensual, and situations lose their bite. This change weakens the initial message and leaves a feeling of unfinished business.
Amy Adams, who plays “Mother”, delivers an impressive performance. She manages to capture with great accuracy the complexity of her character: a woman torn between the love she has for her child and the growing resentment towards this life which is crushing her. His expressions, often subtle, perfectly convey his discomfort and his desire to escape this invisible prison that his house has become. However, despite Amy Adams' talent, the film struggles to give her a real showcase. The other characters, notably her husband played by Scoot McNairy, lack depth. If a few scenes between them are touching, they are not enough to create a truly striking dynamic.
-The group of mothers, who could have served as a mirror or counterpoint to the heroine, are relegated to anecdotal roles. On a visual level, Nightbitch alternates between impactful moments and more banal sequences. The staging, sometimes inventive, does not always fully exploit the potential of the subject. The scenes where “Mother” shifts into her primal state could have been more intense, more visceral. Instead, they often remain in the background, almost sanitized. This lack of visual audacity weakens the overall impact of the film, which would have benefited from diving deeper into the register of fantasy or body horror.
Likewise, the editing, although rhythmic in the first part, becomes more chaotic towards the end. Certain narrative arcs are left unresolved, and the outcome lacks clarity. This impression of haste gives the film an unfinished air, as if the director had hesitated to push his concept to the end. What makes Nightbitch Frustrating is its inability to maintain the strength of its original message. Motherhood, approached here from a dark and unusual angle, is a rich and universal theme. Yet the film seems afraid of delving too deeply into this exploration. Rather than fully embracing its concept, it chooses to return to more classic narrative patterns in its second half.
This decline is also felt in the evolution of “Mother”. While the film seemed to be moving towards a radical and liberating transformation, it ends up bringing its heroine back to where she started. This conclusion, although realistic, leaves a taste of unfinished business. It gives the impression that the film abandoned its ambitions along the way. Nightbitch is a film which, despite its qualities, risks dividing. Some will appreciate its satirical approach and caustic tone, while others will be frustrated by its lack of coherence and limited boldness. What could have been a striking work about the sacrifices and frustrations linked to motherhood becomes a story that is too timid, incapable of fully assuming its ambitions.
Still, the film is worth seeing, if only for Amy Adams' performance and the questions it raises. But it's hard not to imagine what it could have been with a more daring direction and a more accomplished screenplay. With NightbitchMarielle Heller delivers an intriguing but imperfect film. If the starting point is promising and the first scenes captivating, the whole suffers from a lack of audacity and uneven execution. What could have been a deep and provocative exploration of the issues of motherhood becomes a story that barks more than it bites. Despite everything, the film remains a separate experience, carried by a masterful Amy Adams, but which leaves a feeling of frustration in the face of untapped potential.
Note : 4.5/10. In short, it's a shame that the biting and black comedy side of the film loses steam over time.
Released on January 24, 2025 directly on Disney+
