Nightbitch
Directed by Marielle Heller
★★½
Amy Adams in NIGHTBITCH. Photo Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
Marielle Heller’s Nightbitch, starring Amy Adams, had all the ingredients to be an audacious exploration of motherhood, identity, and the sacrifices demanded by domestic life. Based on Rachel Yoder’s acclaimed novel, the film promised a surrealist take on a woman unraveling the complexities of her existence after pausing her career to embrace stay-at-home motherhood. Yet, despite its intriguing premise and Heller’s previously lauded directorial efforts (Can You Ever Forgive Me?, A Beautiful Day in the Neighborhood), Nightbitch ultimately disappoints, falling short of its ambitious goals.
The film centers on Adams’ character, a woman grappling with the monotony of domesticity and her sense of self slipping away. What begins as a relatable tale of frustration and isolation takes an unusual twist as she begins to believe she is transforming into a dog. This bizarre premise sets the stage for a surrealist exploration of motherhood’s primal, often unspoken emotions. However, Heller’s execution never fully capitalizes on the potential of the story’s absurdist tone.
One of the film’s primary shortcomings lies in its inability to balance the surreal and the meaningful. While Nightbitch strives to delve into the primal nature of motherhood and the societal expectations placed on women, its exploration of these themes feels frustratingly shallow. Moments that should resonate as profound insights into the sacrifices and emotional toll of parenting are undermined by uneven storytelling and a lack of depth. The script frequently dances around compelling ideas but never commits to fully fleshing them out—pun not entirely unintended.
Heller’s previous works have been celebrated for their ability to uncover emotional truths and create nuanced characters. Yet, in Nightbitch, her direction feels uncharacteristically unfocused. The film leans heavily into its surrealist elements without grounding them in the emotional authenticity that could make them impactful. Instead of enhancing the narrative, the surreal sequences often feel more like distractions, their symbolism too muddled to leave a lasting impression.
If Nightbitch has a saving grace, it is undoubtedly Amy Adams. Once again, Adams proves why she remains one of the most compelling actors of her generation. Her portrayal of the titular “Nightbitch” is raw and layered, capturing both the exhaustion and ferocity of a woman at a breaking point. Even as the script falters, Adams manages to convey more depth and emotion than the writing provides, imbuing her character with humanity and vulnerability. Her performance is the glue holding the film together, elevating scenes that might otherwise have fallen flat.
Despite Adams’ best efforts, though, Nightbitch struggles to leave a lasting impression. Its exploration of the frustrations of motherhood—while certainly relatable—feels surface-level, and its surrealist ambitions fail to coalesce into a cohesive or impactful narrative. For a film with so much to say, it ultimately says surprisingly little.
In the end, Nightbitch feels like a missed opportunity. With Heller at the helm and Adams leading the cast, the potential for greatness was undeniable. But the final product, though ambitious, lacks the depth and clarity to truly resonate. Nightbitch may howl at the moon, but it never quite finds its voice.
