Acclaimed British filmmaker Andrea Arnold, known for her distinctive style of storytelling, is back with her latest work, ‘Bird’. Following in the footsteps of her powerful documentary ‘Cow’, ‘Bird’ explores new cinematic territories but retains Arnold’s signature elements from her previous works, including her knack of eliciting phenomenal performances from her cast.
Echoes of her earlier gritty social-realist films, like ‘Fish Tank’ and Oscar-winning short ‘Wasp’, can be seen in ‘Bird’. However, Arnold has pushed the boundaries this time, infusing the story with magical realism. Non-professional adolescent actor Nykiya Adams shines in this film with her riveting performance, making ‘Bird’ a captivating experience for viewers.
Despite this, the film at times skirts on the edge of sentimentality. It appears Arnold’s stint directing high profile television series in America might have influenced her work, evident in the script's American-indie-style slickness. This departure might not appeal to all, but it undeniably has the potential to draw a wider audience to the film. The presence of renowned actors Barry Keoghan and Franz Rogowski further bolsters the film's commercial appeal.
‘Bird’, much like Arnold’s other works, does not shy away from presenting the uncomfortable realities of a working-class life. It highlights the abandonment, physical abuse, and addictive behaviors prevalent in such households, conditions often dismissed as “bad parenting” by the middle-class. Yet, it beautifully captures children's resilience, their inventive games, and their unattended adventures.
Our protagonist, twelve-year-old Bailey (Adams), lives in a dilapidated building filled with other residents including her fun-loving yet reckless father, Bug (Keoghan), and her half-brother Hunter. Bailey’s life takes a turning point with her father’s impromptu wedding plan, leading to a family feud. The film further delves into Bailey’s already complicated relationship with her mother, Peyton, who lives separately with her new boyfriend.
As the film progresses, a stranger named Bird (Rogowski), who shares Bailey's fascination with the world around them, enters their lives. Arnold gradually introduces elements of magic and fantasy into the movie, setting ‘Bird’ apart from her earlier films.
Despite tackling dark subjects, the film concludes on a hopeful and joyous note. A delightful dance sequence to the tunes of "Cotton Eye Joe" fills the audience with a giddy joy and tinge of melancholy. This optimism amidst the chaos reaffirms Andrea Arnold’s knack for creating a compelling narrative that is both gritty and uplifting.
