Andrea Arnold returns to filmmaking with the jagged parable Bird

Andrea Arnold returns to filmmaking with the jagged parable Bird

As a seasoned gamer who has spent countless hours immersed in virtual worlds, I must say that Andrea Arnold‘s “Bird” is a cinematic journey that feels surprisingly reminiscent of my quests through those digital landscapes. The movie’s narrative weaves together the gritty realism of everyday struggles and the fantastical escape offered by dreams, much like how games often present you with challenges to overcome while offering moments of respite and wonder.


Charles Burnett’s 1978 film masterpiece, “Killer of Sheep,” is filled with powerful and memorable scenes. Among them, the frequent image of children jumping across rooftops stands out as particularly poignant. Journalist Juliet Clark saw this sequence as symbolizing how teenagers manage to attain a freedom that escapes their elders. This interpretation has stayed with me over time, given Burnett’s skillful portrayal of the daily struggles faced by working-class families in Sheep. While these youngsters seem to fly through the air, the adults are confined to earthbound issues such as scraping together enough money for groceries or attempting to buy a car engine.

During my viewing of Andrea Arnold’s “Bird,” Clark’s theory resurfaced in my mind. The recurring theme in the movie is that Bailey (played by Nykiya Adams), who is 12 years old, often looks at winged creatures such as butterflies and birds (like crows or seagulls). Her life seems restricted to her domestic environment. These animals, however, have the freedom to spread their wings and fly away. In a way, they symbolize an ideal kind of mobility in “Bird.” When one’s existence is burdened with pain, it’s only natural to look up at the sky and yearn for the ability to escape from your immediate environment.

Hailing from Kent, England, I spend my days with my dad Bug (Barry Keoghan), my older brother Hunter (Jason Buda), and Bug’s fiancée Kayleigh (Frankie Box). My bond with my family, especially Dad, is strained, as he seems more engrossed in brewing toad juice or wedding preparations than in his daughter. The gritty surroundings of graffiti-covered walls and rampant crime make us youngsters feel trapped and helpless. This sense of despair drives my brother and his friends to form a vigilante group, targeting corrupt elements within our community. As for me, I navigate these challenges, seeking my own path amidst the chaos.

In a field, Bailey dozes off and finds herself waking up to a 30-something-year-old man named Bird (Franz Rogowski) and some horses. This quiet stranger, carrying a backpack, a skirt, and a friendly demeanor, shows immediate curiosity about Bailey’s life. Initially suspicious of this new face, Bailey eventually warms up to Bird and agrees to aid him on his journey. It is later revealed that he grew up in the area and is trying to find parents he barely recalls. “Bird” is a tale that explores a world-weary youth laden with excessive knowledge and a soft, nearly forgetful adult.

They’re an odd pair. They also become the kind of friends they each need right now.

In their sixth collaboration, Arnold works alongside cinematographer Robbie Ryan for the film “Bird”. This time, they opt for shooting “Bird” on 16mm with a 1.66:1 aspect ratio. The duo emphasizes a raw, lived-in aesthetic in their visual storytelling, preserving intriguing flaws across different frames and intentionally making the edges or lower parts of “Bird’s” images appear as if they are obscured by dirt or film-related artifacts. Notably, the corners of each frame in “Bird” exhibit a subtle roundness that adds to the feeling of claustrophobia portrayed in Bailey’s life and provides a sense of softness within those corners for “Bird”.

In this rephrased version, the distinctive flair serves as a more toned-down equivalent to cinematographer Maria von Hausswolff’s remarkable framing for Hlynur Pálmason’s outstanding film, Godland. Regrettably, Bird’s visual style doesn’t fully embody the strength of Maria von Hausswolff. The frequent use of shaky-cam to capture scenes involving Bailey moving recalls numerous found footage movies from the 2000s that made me feel queasy. The purpose behind the persistent camera movement in these intense sequences is evident. However, the execution leaves much to be desired, as it often feels like a generic method to amplify tension.

Despite the fact that Arnold and Ryan’s visual style tends to rely heavily on familiar elements, their images carry a genuine, lived-in feel that avoids the hollow, simulated appearance often associated with films portraying poverty. Unlike other such movies, Bird’s world is not confined by drab color schemes or repetitive lighting. Instead, it bursts with vibrant colors in places like an apartment complex or during Bug’s lively parties at his home. Although Bird’s visual style may not reach the heights of soaring beauty, it certainly manages to glide gracefully towards intriguing outcomes.

In a narrative sense, Arnold’s screenplay for “Bird” showcases a boldness to incorporate surreal, dream-like deviations. Scenes depicting harsh poverty and dramatic flourishes can occur side by side. This style mirrors the way the visuals in “Bird” move between wide 1.66:1 framing and a vertical, phone-like aspect ratio, reflecting footage taken on Bailey’s phone. Similarly, this writing approach is both chaotic and impressively bold. By blending these contrasting storytelling techniques, the script effectively conveys the fragmented nature of Bailey’s tumultuous home environment.

One consistent across these narrative and visual impulses is some strong performances. This includes Nykiya Adams demonstrating remarkable believability and gravitas in handling such weighty material at a young age. Often playing opposite Adams is Barry Keoghan, who I suppose is technically old enough to play fathers in movies. Seems like just yesterday he was the young weirdo slurping spaghetti in The Killing of a Sacred Deer! Keoghan brings his trademark intensity to Bug. That quality truly solidifies the uncomfortable domestic life Bailey exists in. What’s extra impressive, though, is whenever Keoghan displays a tangible moving paternal quality within Bug.

In an intermittent manner, these bursts occur throughout the film “Bird”. Whenever they do, Keoghan skillfully portrays Bug’s affection for his children as a genuine aspect of a complex character who sometimes unsettles Bailey. This is a subtle performance that underscores Keoghan’s exceptional abilities. Despite not fully stirring my emotional core as I had hoped, the movie and its performances by Keoghan and Adams are impressive. The shaky camera work, generic animal symbolism, and prevalence of recent European films about troubled father-daughter relationships (such as “Scrapper” and “Aftersun”) might be reasons for this, but even so, Andrea Arnold’s new movie is a daringly innovative piece that is worth watching, particularly for fans of Keoghan. Any film evoking memories of “Killer of Sheep” must be doing something correctly.

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2024-11-10 00:45