This review was originally published on May 28, 2024, as a part of our Cannes Film Festival coverage.
British filmmaker Andrea Arnold returned to the Cannes Film Festival to present her latest feature, Bird. A harrowing narrative that contemplates the transition from girlhood to womanhood, Arnold uses magical realism to capture preteen angst with a strong desire for existential freedom. With three Cannes Jury prizes already to her name, the director aimed to dig deep into the chaos of life when violence and uncertainty are at the forefront. Unfortunately, the attempt to dissect real-world concerns from a preteen perspective is clouded by poor directional choices.
Director Andrea Arnold
Release Date November 8, 2024
Studio(s) Pinky Promise , Access Entertainment , BBC Film , BFI , House Productions , FirstGen Content
Writers Andrea Arnold
CastBarry Keoghan , Franz Rogowski , Rhys Yates , Jasmine Jobson , Joanne Matthews , James Nelson-Joyce , Frankie Box , Jason Williamson , Carlos O'Connell
Bird Is An Authentic Tale Of Preteen Angst When Positive Influences Are Limited
The story follows Bailey (Nykiya Adams), a smart but easily influenced 12-year-old who lives with her father Bug (Barry Keoghan) and brother Hunter (Jason Buda) in Kent. Navigating the world has been challenging for Bailey, as her main influence is a father whose new business venture involves selling a hallucinogen from the slime of an imported toad. Her mother Peyton (Jasmine Jobson) is now in a violent relationship with another man named Skate (James Nelson-Joyce), whose tick meter is always at full bar. Her “friends” consist of local gang members and self-proclaimed vigilantes who incite violence in households to protect children.
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With such a troublesome childhood, it’s easy to see why any sudden disruption would cause Bailey to explode. When Bug confirms he’s going to marry Kayleigh (Frankie Box), his girlfriend of three months, Bailey is enraged and leaves to sleep in a field. After waking, she meets Bird (Franz Rogowski), a reserved stranger whose compassion for Bailey’s circumstances manifests in his selfless acts. Initially, it seems Bird is a figment of Bailey’s imagination, a fabrication designed to reimagine her life with freedom. But it becomes clear that he’s real, and Arnold’s exploration of Bailey and Bird's friendship becomes the film’s undoing.
The Script Makes Crucial Mistakes While Introducing Bird As A Problem-Solving Companion
Arnold’s storytelling initially captures Bird as a harmless do-gooder who just needs help to find his family. If that's the case, I have to question why anyone in the film isn’t perplexed enough to ask why this strange man would be seeking the help of a 12-year-old girl, at least enough to then do something about it. Conversely, if he’s as innocent as the film presents, why then would Arnold often capture him naked on rooftop edges, where Bailey can clearly see him? It’s uncomfortable either way, especially considering Bailey’s vulnerable mental state.
Arnold’s exploration of Bailey and Bird's friendship becomes the film’s undoing.
Though Bird adequately captures the world of preteen angst, I have to question Arnold's use of magical realism to solve the film’s inherent problems and Bailey’s troubles. The addition of it feels like an easy way out; capturing reality with no solution would have been more genuine. Life is complex and unfair that way, after all. That’s why Bird is ultimately a disappointment. Instead of a narrative focused on examining the mind and actions of a neglected child, the film opts for a feel-good ending as a last attempt to salvage the problematic and surface-level attempts at resolution.
For what it’s worth, Bird is well-acted and includes a stunning performance by Adams. Her ability to perform with emotion and physical rage is impressive. It’s also great to see Keoghan take on a role unfamiliar to many of his previous choices, even though it still feels as if he’s limited here. In reality, that’s an issue with the script as the film plays from Bailey’s perspective. Perhaps her limited interactions with the other characters further represents her isolation from her terrible reality, even though she’s reeling from the effects of it.
Instead of a narrative focused on examining the mind and actions of a neglected child, the film opts for a feel-good ending as a last attempt to salvage the problematic and surface-level attempts at resolution.
I wouldn’t go so far as to say that Birdis not worth the watch. In truth, the director’s ability to capture both intimate and grand moments through her lens showcases her dedication to sincere storytelling. Unfortunately, this body of work contains too many decision flaws, resulting in a film that leaves more questions than reasonable answers. Even after the use of magical realism steals some of the story's responsibility, it ends up playing like a surface-level examination of childhood trauma despite a profound narrative being within reach. Bailey’s story deserved better.
Bird had its premiere at the 2024 Cannes Film Festival and is now playing in theaters. The film is 119 minutes long and rated R for language throughout, some violent content and drug material.
5/10
Bird follows 12-year-old Bailey, who lives with her single father Bug and brother Hunter in North Kent. As her father pays little attention to her, Bailey, on the brink of adolescence, seeks adventure and connection beyond her challenging home life.
Pros
Nykiya Adams delivers a great debut performance.
Cons
Arnold makes some problematic directional choices.
The film's perspective is limiting as it only focuses on Bailey's viewpoint.
The use of magical realism disrupts good storytelling.
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