Bird (2024)
Bird, the latest movie from Andrea Arnold, is a mesmerising blend of social realism and magical fantasy that soars to new heights, but it sometimes struggles to find its footing. Bird is a coming-of-age story about Bailey (the newcomer Nykiya Adams). She’s 12 years old, and she’s trying her best to navigate a chaotic life in a run-down squat with her wayward father, Bug, played by Barry Keoghan, and her half-brother, Hunter. As Bailey wanders around her neighbourhood, she stumbles across a mysterious stranger called Bird, played by Franz Rogowski. As a result, Bailey’s life takes an unexpected turn.
The gritty style that Andrea Arnold is known for captures the stark reality of the lives of people living on the edges of society in Northern Kent. The movie feels deeply authentic with lots of handheld camera work that makes you feel like you are immersed in Bailey’s world. But what makes this movie different from the previous films that Arnold has done is her choice to introduce magical realism. This is a very bold artistic choice and adds a layer of wonder and whimsy to what would be otherwise a very bleak story. Sometimes, though, it does feel a bit at odds with how the film originally sets the tone as naturalistic. It comes as quite a surprise when Bird appears on the scene, and it changes the whole feel of the movie.
Nykiya Adams is excellent as Bailey. She brings a perfect mix of vulnerability and resilience to Bailey’s character. And her chemistry with Rogowski’s enigmatic Bird is captivating. When these two are on screen together, we get some of the best scenes in the movie. Then there is Barry Keoghan, who plays Bug, Bailey’s dad. Keoghan is known for his intense portrayals of the characters he plays. And he doesn’t disappoint in this film. It would have been better, though, if his character had been developed a bit more.
The themes explored in Bird are poignant and relatable: family, belonging, and the desire to escape. Bird is a metaphor for the freedom and transformation so deeply desired by Bailey. Not only is there a character called Bird, but birds and flight are everywhere throughout the movie, from the opening shot of birds behind a fence all the way to the more fantastical elements that start to emerge later in the movie.
Bird is a feast for the eyes. The cinematographer, Robbie Ryan, manages to capture the gritty realism of Bailey’s everyday life, along with the more ethereal quality when she has her encounters with Bird. The way the drab, graffiti-covered squat contrasts with the lush, open fields where Bailey finds some peace is striking, as is the way that colour is used as it evolves as the story progresses and mirrors Bailey’s emotional journey.
Unfortunately, Bird falters with its pacing and the way the story is structured. The narrative takes considerable time to unfold and may test your patience. The transition from social realism to magical fantasy isn’t always smooth, and some of the plot points feel unresolved or rushed as the movie comes near to its end.
The soundtrack, which is a mix of sounds that are part of the story and heard by the characters and the occasional music cues that are background to the story, works reasonably well without overpowering what we are seeing onscreen. The editing is mostly solid but occasionally feels disjointed, particularly during the sequences that are more fantastical.
Despite these problems, Bird is bold and ambitious and shows the growth of Arnold’s filmmaking. It’s an unusual entry into the coming-of-age genre. It blends kitchen sink drama with flights of fancy in a way that is surprising and thought-provoking.
If you are a fan of Arnold’s previous works (e.g., American Honey, Fish Tank, Red Road), or you enjoy movies that push the boundaries between realism and fantasy, then Bird is worth a watch. It is not always an easy flight, but when Bird soars, it is truly something special.