Shadows on the Wall | Nightbitch

Nightbitch

dir-scr Marielle Heller
prd Amy Adams, Marielle Heller, Anne Carey, Sue Naegle, Stacy O'Neil, Christina Oh
with Amy Adams, Scoot McNairy, Arleigh Snowden, Emmett Snowden, Jessica Harper, Zoe Chao, Mary Holland, Archana Rajan, Nate Heller, Darius De La Cruz, Ella Thomas, Stacey Swift
release UK Oct.24 lff,
US 6.Dec.24
24/US Searchlight 1h38

TORONTO FILM FEST

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There's a wonderfully unnerving tone to this film, which digs into how it feels to be a mother. Tapping into something feral, writer-director Marielle Heller brings out darkly hilarious thoughts and emotions. Although engaging with it perhaps depends on the viewer's ability to tap into their material instincts, the film is also wonderfully surprising, especially in the full-on performance from Amy Adams at the very top of her game.

In suburbia, a mother (Adams) adores her 2-year-old son (played by the Snowden twins), but is frazzled by her exhausting housewife lifestyle. After giving up her work as an artist, she receives very little help from her husband (McNairy), who is often away on business. And her daily routine is only interrupted by annoyingly twee kiddie activities, where she's surrounded by perky moms (including Chao, Holland and Rajan). When she begins to feel her inner wolf emerging, a librarian (Harper) gives her a knowing book recommendation, and she starts acting out in nighttime canine raids.

Clearly a fable, the film cleverly blurs lines between real-world experiences and the imagination. Neighbourhood dogs begin circling around this woman as if she's a kindred spirit, and dead critters pile up on the porch. And then there are her squirm-inducing physical symptoms. All of this expresses her internal journey, which needs to be felt rather than logically explained. This also informs all of this woman's relationships, and offers a remarkably complex narrative arc for her husband as well.

In a raw and nuanced turn, Adams lets the audience into her soul with unflinchingly physicality. She's such a sympathetic actor that it's easy to travel with her, even as events begin to become surreal. Her clear-eyed work keeps even the most outrageous moments grounded, often adding a blast of biting dark humour. Her connection with the Snowdens is remarkable, reflecting parental affection for a child and frustration for her lot in life. And scenes with McNairy are beautifully played as well, especially a final-act confrontation.

This is a deliberately uncomfortable film to watch, because it embraces the visceral duality of motherhood. The skilful writing and directing never try to make sense of the clash of emotions as a woman's body is no longer her own, permanently altered into something new. So while the film has a lot of fun poking at the pain and confusion of maternal instincts, it is also an open-hearted celebration of motherhood. It also has the power to make you see your mother through new eyes.

themes, language, violence, sexuality 16.Oct.24

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