This is where most viewers of Catfight (2016) realize they are not watching a conventional film. Tukel refuses to choreograph beautiful fight sequences. Instead, the brawls are awkward, clumsy, agonizingly long, and stomach-churningly realistic.
It argues that violence doesn't solve problems; it merely creates new timelines of misery. It argues that the "war between women" is a distraction created by the very systems that oppress everyone. And it is laugh-out-loud funny in its darkest moments—such as a recurring gag about a caterer who keeps witnessing the mayhem or a television commercial for "Hormone Replacement Gum." catfight -2016-
: It is often noted for its sharp wit and the intense, unglamorous physical performances of its leads, diverging from the stereotypical "catfight" trope often found in media. Defining the Term This is where most viewers of Catfight (2016)
The narrative follows two women from opposite walks of life: It argues that violence doesn't solve problems; it
: An entitled, wine-reliant trophy wife of a wealthy war profiteer.
Tukel draws a direct line between the "catfight" of two privileged women and the "catfight" of American political parties. The two women are mirror images. They hate each other not because they are opposites, but because they are the same: selfish, entitled, and blind to the suffering of anyone outside their own bubble. Every time one "wins," the victory is hollow. Every punch thrown results in a lost job, a dead family member, or a stroke.
If you have not encountered this indie gem, the title might conjure images of camp. But make no mistake: Catfight (2016) is not a film about two women having a petty squabble. It is a savage, bloody, and hilariously nihilistic metaphor for the political divide, class warfare, and the endless cycle of violence that defines modern America. Let’s break down why this forgotten masterpiece deserves a spot next to Dr. Strangelove and Network .