Newcomer Nykiya Adams Delivers a Stunning Performance in Arnold’s Disappointing Harrowing Drama

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.

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.

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.

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.

I wouldn’t go so far as to say that Bird is 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.