“What begins as a portrait of an unusual circus act gradually becomes something much more moving: a celebration of an unlikely friendship, told with an equal blend of affection and honesty.”

Everyone has their niche, and the more passionate they are about their hobbies, the less likely they are to buckle under the pressures of following the status quo. One of the more compelling stories I’ve come across recently is that of Maxy Niedermeyer, a now-retired circus performer who lived to entertain, and one half of a double act with Natasha, a lumbering brown bear with whom she worked for more than forty years. The pair became minor celebrities all across Europe, entertaining generations of audiences who fell in love with them. However, when we meet Maxy and Natasha, they’ve both aged considerably and are in the final stages of life, having made the difficult decision to retire from the spotlight after it became unfeasible for them to continue, and settled into a simpler and more peaceful existence. In an effort not to let their story get lost to time, Martin Genovski follows them in Bear with Me, a charming and irreverent documentary that revolves around Maxy and Natasha in what would become the final year of their lives together. Through discussions with Maxy and the people who knew them both, either personally or simply through being aware of their legacy, the director picks apart the various complex layers that make up their story. The film creates a memorable examination of their lives and careers, and also provokes some intriguing conversations around subjects like animal rights and the entertainment industry, telling the unforgettable story of someone whose love for another being transcends our understanding and becomes the foundation for a touching documentary, blending candid conversation with surprisingly poignant observations.

Animals have always been a part of human entertainment, going back to the earliest days of antiquity. Ever since we determined that we could tame animals (or use those which are more vicious by nature to demonstrate human acts of resilience and bravery, which usually ended with the slaughter of these “beasts”), they’ve been exploited and manipulated for our personal gain. Despite creating a very charming portrait of the relationship between a woman and her bear, Genovski is not ignorant of the fact that the industry Maxy represents, and looks back on so fondly, has enormous problems, and has often been the subject of discussions around the ethics of circuses and the conditions some of their most vulnerable performers have to endure. It’s not surprising that the circus industry has undergone substantial shifts in the kinds of acts they put on, and this film underlines how Maxy and Natasha were gently pushed away from performing as these conversations went on, making it clear that the tides were changing. It’s a challenging approach, since the focus of this film is on the relationship between the two main characters, a beautifully moving story of unexpected companionship. However, it cannot outrun the discussion on exploitation, with the director creating a film that consists of two key thematic strands, arguing in favor of the movement away from exploiting animals, and also showing one of the rare instances where such a circus act is built from mutual love and respect instead of manipulation.

Bear with Me has an unexpected depth that only reveals itself as the film progresses and we see just how invested the director is in this story. While any exploration of the circus industry, especially from the perspective of capturing the final vestiges of a dying art (or rather one that is substantially changing its practices), would be inherently fascinating, there is an intimacy that comes in combining the personal and the historical. Genovski had his work cut out for him, since this premise has a lot of potential but could’ve easily tipped over into becoming overwrought, something he avoids through tackling the core themes, especially the more contentious elements, with tact and care. There’s a lot of gentle humor in this film, and the playful approach to looking at circus culture as an integral part of the lives of many people growing up (it seems like many of us have formative memories of attending the circus as children), plus the focus on the daily routine of Maxy and Natasha, who maintain a strong bond well into their retirement, gives the film a distinct identity and point of view. It is often forceful in its overall viewpoint, keeping a clear inventory of its emotions and intentions, which prevents it from ever spiraling into something less tactful. The later portions of the film, when it becomes clear where the story is heading, are genuinely heartbreaking, especially in the aftermath of the inevitable event hinted at throughout the story and delivered as a subtle but shattering blow. There is no replacement for a friend, whether animal or human, and anyone who has gone through such a loss will be able to relate to the central dynamic between Maxy and Natasha as they navigate their final days together.

Towards the end of Bear with Me, once we learn that Natasha eventually died during the course of the film’s production, there is a simple sentiment where a character earnestly asks “what would Maxy be without a bear?”, which is perhaps the single most concise description of what the director aimed to portray throughout this film. At its core, it’s about an unorthodox love story between two lifelong companions, with Natasha proving to be the love of Maxy’s life even though she did have a decades-long relationship with a man, who conceded that he was always going to come second in her affections. Through exploring this ironclad bond between two protagonists who remained close to the very end, we see how some friendships are strong enough to never be broken, regardless of the obstacles that may emerge. This also enables the director to examine history (particularly that of Bulgaria, where much of Maxy’s life was spent when not touring Europe) through the lens of characters who witnessed a very different side of the past few decades. Two natural-born performers who remained devoted to their craft and each other, they mastered their niche and found success in the strong connections that they nurtured over the years. However, the film doesn’t neglect to pose more critical discussions, and Genovski makes it clear that his intentions are not to craft a fawning, mindlessly positive portrayal of the circus trade that lacks a critical perspective on the darker side of the industry. The result is a beautifully poetic and triumphant film that never ignores the darker complexities of its story. What begins as a portrait of an unusual circus act gradually becomes something much more moving: a celebration of an unlikely friendship, told with an equal blend of affection and honesty.