Mariella Gattini

Catfight (2016), directed by Onur Tukel and backed by an impeccable cast led by Sandra Oh, Anne Heche, and Alicia Silverstone, is a revelation in honesty, depth, and criticism of the human spirit.

Two disgruntled women, disillusioned with their own lives, initiate a passive-aggressive argument that, a few moments later, escalates into a real brawl that leaves one of them in a coma for two years. Sandra Oh portrays Veronica Salt, the trophy wife in coma, who is married to a business man benefiting from the war in the Middle East. When Veronica wakes up, her life, as she knew it, no longer exists. With no money, no family, and no friends, she is forced to work as a hotel housekeeper in Manhattan. Her frenemy Ashley Chambers (interpreted by Anne Heche), went from being a struggling painter of two-dimensional compositions of violent depictions to being pregnant and successful over the course of those two years. Ashley is on the top of the world, which makes her feel entitled to look down upon and mistreat others, especially her assistant. One of her most recent paintings resembles the face of her frenemy, the trophy wife, in three stages—before the first punch, after it, and finally the way she left her on the floor. Recognizing herself in it, the now-maid, starts to destroy the gallery during the opening of the exhibition, which is, of course, the cause of the second round of blows that sends the painter on a coma for two years. When she wakes up, she realizes she has lost everything—her baby, her relationship, her career, and all her money.

This story is very interesting from different points of view, but, specifically, I would like to examine three of them.

First, it analyzes the direct impact that the economic and political environment has on the individual. Both women benefit from the war and violence in the world at certain points in their lives. The trophy wife benefits through the economic success of her husband and the myriad of things at her disposal—which not only allow her to do nothing, but it also gives her the identity of a superior being before society. The painter benefits through her work, which reflects what is going on in the world, although she doesn’t really see it, and doesn’t care about her “contribution” to the status quo. But the most devastating impact is found in their own spirits, going from two simple unhappy selfish women to two violent, entitled, vindictive, and mere specks of human beings.

Second, the movie is able to make obvious the fact that women can be violent, as violent as men can be. Even in that respect, women have been dismissed and looked down upon, with society thinking that women are so weak that they are not able to get to that level. On the other hand, this is a movie we are talking about—it has to be graphic, action driven, and succinct. I attribute to the latter the need for a physical violence that shakes viewers and helps them to become conscious of what is really going on between them. In real life, women are far more subtle, and use language to hurt. Words can be far more devastating than any punch—they have the power to destroy and even paralyze individuals for the rest of their lives.

Third, there is a third exchange of blows at the end, leaving an open ending, which is a clear indication of the never-ending cycle of violence, and the infinite number of excuses for it.

Overall, this is a well-executed dark comedy, with extremely experienced and talented actors, who definitely are helping to shake consciences with their wit and team effort. I applaud independent filmmakers and their commitment to their craft, especially when they include a politically charged background and demonstrate their ample critical thinking.

This movie in particular is going to find much resistance among conservatives, who are going to focus on any technical issue to dismiss it—whether it is plot or mise en scène. Having said that, this is not a political movie, it just puts emphasis on the world we are living in and the hatred that exists underneath among ordinary people, one that can unravel at any moment. We can all feel it and live it, but most of us, by insulating ourselves in our own lives, become mere spectators of somebody else’s tragedy, and, as a consequence, we live a life of internal misery that suffocates our spirits anyway.

It is refreshing to see a movie that dares to tackle the reality of things in a simple, well-told story. Most people in this business of storytelling are more interested in being liked and approved than in being true to themselves and their value as thinkers and storytellers.

Catfight (2016): Best independent movie I’ve seen in a long time. Recommended for those open to what others have to say without preconceived agendas or prejudice.