BIRD
A Review by David Jackson
BIRD is a fairytale. It may not look or sound like one but at its heart it most assuredly is sitting squarely in the lineage of the Brothers Grimm and Hans Christian Andersen, telling a dark and twisted tale that moves in unexpected, but ultimately satisfying directions.
At its centre is a standout performance by Nykiya Adams. In fact, it’s fair to say that the weight of this film rests squarely on her shoulders – and she carries it effortlessly. While those around her shoot for the moon going large with characters – not stopping short of bouncing off of walls and chewing the scenery – she keeps it all rooted. While her performance is not in discord with the frenetic energy of Barry Keoghan or the otherworldly oddness of Franz Rogowski, it serves to keep their feet on the ground - and with them, the audience’s.
Visually, BIRD owes a lot to the social realist filmmakers of the 20th century, but while it does not shy away from poverty and deprivation, it depicts them with a more sensitive and true-to-life touch than most social realist films. The squat in which the characters live is full of colour and life, the graffiti on the walls is more a product of artistic expression than thoughtless vandalism.
As the more magical realist elements of the plot seep in the visuals begin to subtly change too, and it shifts more towards natural spaces. While the natural and urban landscapes shown are beautiful they are not picture postcard depictions, even these moments of pastoral beauty are encroached upon by the urban sprawl, with the looming presence of tower blocks, trains and estates looming in the background of every frame.
The camera lives in these spaces with the residents, moving through buildings with a confidence born of familiarity. It also soars through the streets with an unbridled joy and energy – matched by the characters who fly through the streets on their electric scooter. While the shaky camera work might not agree with everyone, especially if you are prone to motion sickness, it is in service of the energy of the film and is only used at moments of high intensity.
Talking too much about the plot would be a mistake as discovering its slowly unfolding layers is one of the great joys of the film, but suffice to say it takes risks that pay off. It all feels of a piece; each element, each strand, is part of something cohesive and satisfying. The combination of the heart-felt performances and cohesive visual style make something truly special.