Bellbird

They sang once from a british band in the 1980's, and this nz rural farmers realism feature film, are basic stuff, and it a low budget, but still a film that you canrelate to on the human level. the premises, the farm, is all thats needed to make a farm film, you put some actors on the location and well its a film.

loss and grief are the main topic, and the story delves into the sensations with bravour. not the screamingly meltdown sorrow, just the calm self absorbing grumpy old man have always been kinda sorrow..

grief does usually mend itself over the years and the way things develop between father and son gives high hopes for the future.

its a farm film, but also a film on the human mind, so you wont regret having a look.the grumpy old man did and it felt ok.

Hunt for the Wilder People meets all Creatures Great and Small.

Not really.

There are some light moments but this film is not a feel good movie. It is essentially about grief and having to overcome what can't be fixed in the back blocks on a dairy farm in Northland, New Zealand.

The cast includes Rachel House (Hunt for the Wilder People) and Marshall Napier (McLeod's Daughters). Cohen Holloway is excellent as Bruce.

As ever with NZ, the scenery and setting holds the attention no matter what the storyline is.

Its wasnt a bad movie, but rather slow with little actually happening. The older main character was hard to relate to as he was essentially a silent cipher, the other characters had more life to them. If gives a glimpse of life on a kiwi farm and deals with loss and the passing of each generation with a tragicomedic eye.

Stunning film that just drips with real. Nothing showy - nothing over done - just community and family life that pulls you in as an observer. Just totally wraps you in a blanket of living. So beautifully scripted, acted and directed. It moves you in such a profound way but at the same time it is that favourite pie you eat for lunch. Comforting but different, expected but unexpected....

I had little idea what to expect when this premiered on the big screen in Sydney (June 2019) and found an assured well-crafted story with lots of heart, no baloney, and a good few laughs along the way. The subject matter is quiet and low-key, but never dull, and the storytelling clear and smart (one example: a sequence intercut between a few hesitant ukulele notes developing into a tune, and a character getting to grips with performing his work). The intent of every sequence is clear, often with a dash of sly wit. Marshall Napier in particular gives a flawless performance as a very real character. The style owes a bit to "Boy" and "Hunt for the Wilderpeople" (not a bad thing) and the delicate balance between low-key realism and warm comedy is hardly ever strained. There's so little to quibble about, all relatively trivial (a horrible cut in one sequence, a slightly out-of-style use of hand-held camera in another) that the main impression remaining is the obvious assurance of the writer/director, however long he's been at it. More to the point, experiencing this film was so evocative and entertaining that I've logged in afresh to write this first review in the hope that others might also enjoy it. And no, I have no connection at all with the production, though I wish I could say that I did.

Derek Morton