TIFF 2024: Bird Review

This will be one of many reviews during this year’s Toronto International Film Festival, to keep up with our latest coverage, click here.

It’s been eight years since Andrea Arnold released her last feature-length film, American Honey, which established her as a master of authentically portraying disenfranchised youth. Her latest, Bird, sees her return to the coming of age films she’s known for. The film stars newcomer Nykiya Adams as Bailey, a 12-year old growing up in the projects in London. She lives with her neglectful and messy father Bug (Keoghan), whose financial situation is entirely dependent on dealing rare natural hallucinogens. Meanwhile, her mother lives on the other side of the city with her five younger siblings, and has a habit of bringing abusive men into the house. She is surrounded by violence and people who consistently make bad decisions, which prevents her being a kid. After a sudden encounter with a bizarre man and wandering soul named Bird (Rogowski) asking Bailey for help finding his parents, she soon lets her guard down and the two form an unlikely friendship. Through this connection, Arnold explores the resilience of youth and the power of escapism in a fractured world.

Bird is at its strongest when it stays grounded in reality, thrusting audiences fully in Bailey’s tumultuous world. Robbie Ryan’s shaky-cam, extreme close-up cinematography might not appeal to everyone, but it effectively mirrors the film’s intense, anxiety-laden atmosphere. The camera’s free movement complements the film’s bird symbolism, reflecting Bailey’s desire to escape her surroundings. As always, Arnold demonstrates an exceptional ear for music, curating an eclectic mix of British tracks spanning various eras and genres. These musical choices elevate key moments, perfectly capturing the mood of each scene and making some of the lost memorable moments the film has to offer.

Arnold elicits deeply authentic performances from her cast, with Adams standing out in a quietly heartbreaking portrayal of Bailey. Adams brings emotional depth to the role, capturing Bailey’s struggle to summon inner strength in the face of cruelty while protecting her younger siblings, despite only being 12-years old, Her performance masterfully balances resilience with a sense of fragile innocence. Keoghan also impresses, delivering a bold and zany performance as Bailey’s fully tattooed father Bug. However, where the film isn’t as strong is when it flirts with fantasy elements, and eventually embraces them wholeheartedly. The mystery surrounding Bird is far more interesting and in line with the rest of the film than where his character goes, even if his trajectory is easy to predict. Arnold’s willingness to delve into weirder territory is commendable, but it clashes with the rest of the story.

In the end, Bird excels when it remains grounded in the raw emotions and harsh realities of Bailey’s world, carried by standout performances and striking cinematography. However, its shift into fantasy elements creates a tonal dissonance that detracts from its otherwise compelling narrative. Arnold’s ability to evoke genuine, nuanced performances and her sharp ear for music are undeniable strengths, but the film’s attempt to merge gritty realism with some undercooked and ridiculous metaphors ultimately leaves it uneven. Despite its missteps, Bird remains a visually and emotionally impactful film, that is consistently entertaining and certainly worth a watch for fans of Arnold’s filmography,

still courtesy of Mubi

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Tristan French