★★★★☆

As a seasoned cinephile who has witnessed the evolution of social-realist dramas over the years, I can confidently say that Andrea Arnold’s latest offering, “Bird,” is a breath of fresh air. This film, with its unique blend of gritty realism and magical fabulism, is not just a movie, but an exhilarating ride that barely pauses for breath.

Bird is in UK Cinemas from Friday. Add it to your watchlist

In an unusual pace more commonly seen in unconventional social dramas, Andrea Arnold’s coming-of-age movie swiftly moves from raw realism to whimsical storytelling, hardly taking a moment to catch its breath.

12-year-old Bailey, played by Nykiya Adams, resides in a run-down apartment building in Kent known as a squat, along with her brother Hunter (Jason Edward Buda), and their father who enjoys excessive partying, named Bug (Barry Keoghan).

Disordered yet affectionate, Bug is barely older than double his son’s age, and he tends to focus more on his approaching wedding with Kayleigh (Frankie Box), his girlfriend for just three months, which often irritates Bailey.

Despite still being on the brink of adolescence, Bailey has had to mature quickly. She finds comfort in capturing her surroundings with her camera, appreciating even the smallest fragments of nature. Then she encounters Bird (Franz Rogowski), who is peculiar in numerous aspects, from his German accent to his kilt and unconventional demeanor.

Bailey learns that he’s searching for his parents, and decides to aid him. This event draws her closer to her mother Peyton (Jasmine Jobson) and other siblings once more. However, this meeting highlights the estrangement between Bailey and her family, largely due to Peyton’s new partner Skate (James Nelson-Joyce), who is abusive.

Blending gritty motifs reminiscent of Arnold’s past works, notably “Fish Tank”, with a unique, whimsical twist, the film “Bird” allows the director to explore more creative territories and truly soar.

Bailey’s life is quite untamed, and Arnold skillfully delves into the junction where human traits and animalistic impulses intersect. This intersection is notably depicted through the character of Bird, whose introduction gives the story a whimsical, fairy-tale-like quality.

Arnold thoughtfully maintains a balance in tone, never avoiding the darker facets of Bailey’s life, such as the threat Skate presents.

On a recurring track, Irish post-punk band Fontaines DC echo the chorus: “Is it too raw for you?” It seems like Arnold is issuing a similar challenge, as she intensifies both the gritty aspects of Bailey’s life and the exhilaration derived from zipping around on an electric scooter with her father.

Leading the pack, newcomer Adams holds her own against seasoned actors with ease. Her screen presence is undeniable, and she lends a genuine, realistic touch to her character.

In the movie, Keoghan (from Saltburn) seems to be enjoying himself more than he has in a while on screen. The character’s fixation with a “drug toad,” which he attempts to coax into secreting hallucinogenic goo, adds a good deal of humor throughout the film, softening some of its intense scenes.

Compared to others, Rogowski’s portrayal seems slightly off-balance, but it fittingly captures the uncertainty of a character who intentionally straddles the boundary between reality and illusion.

A story revolving around transformation – from homebound to untamed, from youth to maturity, from ordinary to extraordinary – The movie Bird symbolizes a refreshing transition in Arnold’s career towards more intricate narratives beyond pure neo-realism. Despite its melancholic tone, the film soars on an undercurrent of heartwarming optimism.

2024-10-31 18:05

Bird review: a coming-of-age film racing between gritty realism and magical fabulism

★★★★☆

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