Women do not get enough credit for everything that we do. Women go through more stages than men do. Our life is altered during adolescence because of menstruation; society's beauty standards affect us more because of the idealized view of perfection, and then there’s a pregnancy that no one can prepare us for.
Pregnancy and motherhood are by far the most traumatizing and rewarding aspects of being a woman. It’s interesting to hear stories from other women about their journey and know that every woman experiences it differently.
However, there is one universal loss that all women go through during motherhood, and that loss is their former selves. After years of being selfish and attempting to build our future, once you are stable in your career, that energy shifts to someone else. You are no longer focused on yourself but on giving the best life to your child.
When discussing motherhood, it’s often kept separate from womanhood because of how vastly different life with children can be. But realistically, it should be combined because you’re still a woman with agency. Society categorizes women and puts them in a box so they feel inclined to follow certain guidelines. The timeline to settle down at a certain age and put your dreams on hold to raise a family is a massive decision.
Motherhood is challenging when women don’t have a support system, and “good parenting” falls on the mother and not the father. But women can’t do everything and still find time for themselves. No matter how many decades go by, the double standard will always be present, and women will be judged.
In Marielle Heller’s Nightbitch, Amy Adams plays a stay-at-home mom who experiences supernatural occurrences deeply rooted in motherhood. The film is adapted from Rachel Yoder’s novel of the same name. Heller wanted to explore womanhood and how multifaceted women can be. Adams had to resort to being a housewife and raising her son with an absent husband (Scoot McNairy). She had to give up her life as an artist and felt forced into a situation she never envisioned for herself.
This doesn’t mean she doesn’t love her husband any less, or even her son. But lack of sleep and a routine dedicated to another person makes you crazy. Heller shows how mundane and repetitive her life had become. The quick cuts cycling through cooking breakfast, playtime, lunch and then trying to put her son to sleep worked perfectly to set the tone at the start.
Adams gives one of her most unhinged and fearless performances as a mother succumbing to feral urges wanting to break free. As a creative, it’s discouraging to be locked in without any form of expression, which means having free time to think and process emotions.
The supernatural elements of Nightbitch can be a bit silly and comedic, but Heller ties it in beautifully with a woman’s feral expressions. When Adams turns into “Nightbitch,” she experiences the freedom at night that she can’t have during the day. Adams’ character didn’t want to become friends with the other moms because she thought they were weird, but once she experiences sleepless nights and hissy fits from her son, she begins to understand why. The dogs symbolize other women and the support system all women need. We are the only ones who can understand each other without judgment.
In a way, the film is oddly comforting because it explores every avenue of womanhood. Women will have a universal understanding of what Adams goes through. But also, see that you don’t have to give up on your career to have a child. Even though it feels far-fetched because of the supernatural elements, there are very grounded discussions between Adams and McNairy about her career and raising their child. Heller effortlessly writes authentic dialogue that is educational and engaging. Nightbitch is a supernatural dark comedy that doesn’t rely on the “dog transition” aspects to make it interesting. It’s entertaining and heartfelt when you suspend your disbelief. This is also one of Heller’s best films, and Adams has found a director to help her push boundaries with her artistry.
4/5
Review by: Amanda Guarragi
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