by John Noonan
Worth: $15.50
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Ninon Borsei, Aurora Marion, Jean-Jacques Rausin, Mara Taquin, Louise Manteau, Arieh Worthalter, Ninon Borsei
Intro:
… if you’re looking for a dark and comedic look at those strong and enduring bonds we share with our pets, this will certainly scratch that itch with its back leg.
Cinema is filled with examples of human relationships with dogs. From Marley and Me to Cujo, 101 Dalmatians to A Boy and His Dog, these films have run the gamut of emotions that come with caring for a fluffy doggo. Adding his unique voice to the crowd is Belgian director Xavier Seron’s Life’s a Bitch (Chiennes De Vie).
The film is split into three stories that, although distinct, overlap in some capacity: In Mescal, after being attacked in the park, schlubby loner Tom (Jean-Jacques Rausin) is encouraged to take in the chihuahua of his deceased neighbour and becomes convinced that the puppy wants him dead. In Sophie, famous model and actor Greta (Aurora Marion) loses her assistant and prized pooch in a traffic accident, resorting to her hiring a new assistant who appears to be the best of both worlds. Finally, in Perdita, recently jilted security guard Franck (Arieh Worthalter) falls in love with shoplifter Lola (Mara Taquin), and the only thing standing in their way is his dog.
Folding in elements of black comedy, horror, satire and romance, Life’s a Bitch works so well because of its versatility. Mescal sees the director embrace a truly dark side, as documentary maker Tom becomes convinced that the tiny chihuahua is out to get him. Deliberately playing it vague as to whether the Mexican toy dog is the next Nahual, Seron never shows much evidence to back up Tom’s fears. However, the shadow of violence looms over him regardless, before a final bloody encounter.
Despite what’s mentioned above, Mescal is not the darkest chapter, despite the bloodshed. That honour goes to Sophie and Greta’s frankly unhinged response to grief. Noticing a resemblance in new assistant Charlotte (Ninon Borsei) to her favourite pooch, Greta begins a campaign of subtle and not-so-subtle coercion. From making the assistant sleep at the bottom of her bed to effectively playing fetch with her during a game of water polo, the big question is, why doesn’t Charlotte just leave? The answer appears to be money, with a dash of Stockholm syndrome that feeds into Charlotte’s fears that she too can be replaced. Sophie is clear in its thoughts about how those who have are willing to tread on those who don’t in order to make themselves feel better.
If the first two parts are heightened in terms of their audacity, it’s the final part, Perdita, where Seron pulls at the audience’s heartstrings while still adhering to his surreal tendencies. Here, he takes the manic pixie girl trope and ratchets it up a few hundred decibels. Lola is crazy, impulsive and even has an ex-girlfriend; she’s the very tonic to shake up martial art loving Franck’s life. But from the get-go, Seron clarifies that the security guard’s first love is his best friend Perdita. Soon, without giving too much away, Lola becomes the antagonist in her own story. In a sense, she’s the English fiancée all signs say the hero shouldn’t be with. When things get too real for both of them, you’ll be hard-pushed not to empathise with everyone involved.
As mentioned, the film’s refusal to be pinned to one particular aspect of comedy makes it so engaging to watch. Seron throws everything he has at the screen, and for the most part, it sticks. Sure, if you’re averse to seeing animals in peril, then assuredly this is not the film for you.
As a buffet of eclectic storytelling and sometimes grotesque characters, Life’s a Bitch is most assuredly not A Dog’s Journey. However, if you’re looking for a dark and comedic look at those strong and enduring bonds we share with our pets, this will certainly scratch that itch with its back leg.
