It’s a mild shock to discover that the once youthful rebel of the big screen, Barry Keoghan, is now portraying the role of a father to nearly grown children. This suggests that the character Keoghan’s portraying might be looking at the prospect of becoming a grandparent soon. A subtle joke nearly goes unnoticed in reference to Keoghan’s appearance in Saltburn in the latest exceptional film premiered at the Cannes film festival by the renowned director Andrea Arnold, the creative mind behind Fish Tank and American Honey.
The film displays Arnold’s talent – the deft management of seeming disarray – while introducing fresh and unexpected aspects. The bold move in this film might not be welcomed by all. However, the depth and richness of her character portrayal will likely charm the majority.
We once again find ourselves in the unique, gritty corner of Kent that Arnold has been exploring in her films over the past few decades. This region, dubbed as ‘Arnoldshire’, reveals the familiar character, Bug (played by Keoghan) when young Bailey (Nykiya Adams) encounters her father in a dilapidated seaside town. It comes to light that Bug is on the verge of marrying his girlfriend who will bring another child into their home. This impending wedding leads to apprehension amongst the kids, fearing their future stepsister may emulate Harry Styles. As the father, Bug attempts to display his authority, however, respect for authority is scarcely recognised in Arnoldshire.
Arnoldshire also harbours risks. Regular observers may express concern about the tense atmosphere in the household, but we are soon reassured that this is a place of strong – albeit roughly expressed – love. This is evident when we see Bug and Bailey return home on an electric scooter, whilst bopping to Too Real by Fontaines DC. Despite Bailey’s disapproval of the impending marriage, the depth of tension in the family proves to be superficial.
Arnold reiterated at the premiere of the ‘Directors’ Fortnight’ series that she enjoys the ‘messiness’ elements in cinema, which are clearly present in this film. However, this clutter always nurtures character growth. As consistent with her other works, Bird shuns the standard portrayal of successful unions and instead delves into the complexities of its characters.
Adams already demonstrates a broad range of emotional depth in her performances. It goes without saying that Keoghan portrays a charismatic yet debauched character convincingly. The film also regularly benefits from the contributions of long-term associate, Robbie Ryan. The Irish cinematographer instils a sense of organised chaos by permitting unexpected elements within the periphery of the scene.
Bird, however, diverges from Arnold’s typical methods as it introduces a component of the paranormal—or what is interpreted as such—demanding a suspension of disbelief from the viewers. Bailey spots an odd figure skulking on the rooftops. After an encounter where the individual introduces himself as Bird, some questions go unanswered. Why, played by Franz Rogowski, does he have a German accent? Why does he don a kilt? Can Franz Rogowski convincingly play a character seemingly much younger than him? It’s clear that he isn’t a figment of the imagination since others can see him too.
As the narrative progresses, hinting at possible child maltreatment at Bailey’s maternal home, suspicions arise that Bird might indeed be a bird. This plot twist conveys a similarity to a post-war children’s novel—perhaps similar to ‘Stig of the Dump’—but it may not be the direction all viewers prefer. Skeptics may also struggle with accepting not just one, but two emotional revelations set to Britpop ballads. They shouldn’t, as Arnold has consistently proven her ability to evoke powerful emotions through popular music. A robust reinforcement and unexpected development from Arnoldshire’s reigning queen.