In the cinematic world crafted by Andrea Arnold, the portrayal of parents often leans towards the stark and unsettling. Rather than depicting nurturing figures, her films frequently present neglectful and preoccupied parents, shaped by the harsh realities of their circumstances. Arnold’s narratives predominantly capture the lives of working-class families in Britain, where financial struggles and emotional disconnect are common themes. An early short film, “Wasp,” starkly illustrates this dynamic, showcasing a mother who locks her four children in a car while she attempts to rekindle a romance with an old boyfriend in a nearby bar. Similarly, in her acclaimed feature “Fish Tank,” a mother coldly informs her daughter that she should have opted for abortion rather than giving birth, highlighting the dismal environment in which these characters exist.
Yet, within this grim tapestry, the character Bug (played by Barry Keoghan), emerges as a somewhat positive figure in the realm of fatherhood. Bug, adorned with insect tattoos and a seemingly perpetual grin, engages with his children, Hunter (Jason Buda) and Bailey (Nykiya Adams), in their disordered home—a chaotic squat in northern Kent. Hunter, just 14 years old when he became a father, has his younger sister Bailey, who is now 12 and increasingly frustrated with their life circumstances. Their mother (Jasmine Jobson) resides in a different house, involved with Bailey’s three step-siblings, creating a fragmented family dynamic.
The film “Bird,” which Arnold both penned and directed, centers primarily on Bailey’s journey, with Bug occupying a significant role in her narrative. At the film’s outset, Bug brings home a toad encased in a plastic shopping bag, much to Bailey’s dismay. As he enthusiastically explains that the toad secretes a hallucinogenic substance, he spins dreams of wealth through its sale, alluding to the financial desperation that drives him. Moreover, he hints at an impending marriage, further complicating their already tumultuous lives.
Bailey, however, sees through Bug’s whimsical schemes and remains skeptical of his aspirations. Caught in a vicious cycle of confusion, she struggles to envision an alternative to her current reality—a sentiment echoed in Bug’s own life. “Bird” poignantly explores the theme of children raising children, where the absence of any stable structure feels normal to them. Yet, the pervasive sense that the adult figures in their lives are failing to act responsibly weighs heavily on the teenagers. Hunter, for instance, finds himself mingling with a group of young boys who call themselves “vigilantes,” resorting to violence against those who perpetrate harm within their community.
As Bailey navigates the choppy waters of adolescence, teetering between anger and despair, she encounters a mysterious man named Bird (Franz Rogowski). Unlike the other adults in her life, Bird exudes a unique aura—gentle, quiet, and non-threatening. Despite her abrasive nature, Bailey finds herself softening in his presence, leading to an unexpected friendship. The origins of Bird remain a mystery to her, and she is largely indifferent to the details of his life. To Bailey, he represents a rare sense of safety and comfort, even if she cannot fully articulate why.
