4.0 out of 5 star rating
In a manner seldom seen in social-realist dramas, Andrea Arnold’s coming-of-age movie swiftly moves between raw realism and whimsical storytelling, hardly taking time to catch its breath. (Or more casually: Andrea Arnold’s coming-of-age film blends gritty reality with magical elements at breakneck speed, barely pausing for a moment.)
12-year-old Bailey, played by Nykiya Adams, resides in a run-down apartment building in Kent, sharing the space with her sibling Hunter (Jason Edward Buda) and their father, who enjoys a wild lifestyle, named Bug (Barry Keoghan).
Disorganized yet affectionate, Bug is barely double the age of his child, and he tends to focus primarily on his forthcoming nuptials with Kayleigh (Frankie Box), his girlfriend for just three months, which often irks Bailey.
Despite being on the brink of adolescence, Bailey finds herself maturing at an accelerated pace. She finds comfort in capturing her environment with a camera, cherishing even the tiniest bits of nature she encounters. However, her tranquil existence is disrupted when she crosses paths with Bird (Franz Rogowski), who stands out for numerous reasons: his German accent, his choice to wear a kilt, and his unconventional demeanor.
Bailey learns that he’s searching for his parents, prompting her to offer assistance. This action reconnects her with her mother Peyton (played by Jasmine Jobson) and other siblings. However, this encounter highlights Bailey’s estrangement from her family due to Peyton’s violent partner Skate (James Nelson-Joyce).
By blending gritty motifs reminiscent of Arnold’s past works, notably Fish Tank, with a touch of whimsicality, Bird allows the director to truly expand her creative horizons.
Bailey’s life is raw and untamed, and Arnold skillfully delves into the juncture where human essence and animalistic impulses intersect. This theme is notably manifested in the character of Bird, whose entrance gives the story a magical, folkloric ambiance.
Arnold skillfully manages the tone, never avoiding the darker facets of Bailey’s life, such as the threat that Skate presents.
In a recurring part of their post-punk track, Fontaines DC pose a question multiple times: “Is it too real for you?” This query echoes Arnold’s tone as well, as she intensifies the raw truths of Bailey’s life and the thrill experienced while zipping around on an electric scooter with her father.
As a budding film enthusiast, I found myself quite impressed when the debutant actress, Adams, took center stage alongside seasoned actors. Her captivating on-screen charisma was undeniable, and she managed to breathe authenticity into her role in a way that resonated deeply with me.
In Keoghan’s performance in Saltburn, it seems like he’s experiencing the greatest on-screen joy in quite a while. The character’s fixation with a “drug toad” that he attempts to coax into secreting hallucinogenic mucus adds a substantial dose of humor throughout the movie, balancing out some of its intense action scenes.
Compared to others, Rogowski’s portrayal seems slightly off-balance, yet it perfectly captures the enigmatic qualities of a character teetering on the border between reality and fiction.
A story exploring transformation – homebound to untamed, youthful to mature, ordinary to extraordinary – The Bird movie signifies a refreshing change in Arnold’s professional path, moving from strict neo-realism towards more intricate narrative styles. Despite its melancholic tone, the film soars on a hopeful gust.
Bird will be in UK Cinemas from 8th November.
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2024-10-30 19:36