Bellbird

Less is more they say, and that holds true for this simple, honest film.

Having lived in rural NZ for a number of years, the film evoked a lot of memories, and captured both the stoicism and the warmth of rural communities in New Zealand.

I loved this film for it's sincerity.

Yes it is slow. Yes it is simple. But it'll put a smile on your face, and some warmth in your heart.

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 watched this film back in 2019 at CIFF, but I've thought about it a number of times since.

The film follows a rural dairy farmer, Ross, who, after his wife dies, struggles to maintain life as usual and communicate properly and meaningfully not only with his adult son Bruce, but members of his local community. The narrative sort of flows in a stream of consciousness sort of way and the story takes place over the course of 4 seasons.

It makes sense then that the slow, methodical realities of farming life are replicated in the film's style and technique usage. The pacing of the film is quite slow, and editor Jason Pengelley's result would best be described as unhurried and graceful. Instead of dissolves or otherwise to hint at the passage of time in the film, the viewer is given long, beautiful landscape shots of the environment or rather elements in the environment such as cows grazing or wandering, or perhaps rain pouring from a gutter. The recurring ukulele meanders and grows in confidence and melody as the tone demands.

Cinematographer Grant McKinnon has done nothing short of incredible work in this production. Every frame is indeed a work of art and the sheer perfection of his shots works very well with the pacing of the film: the viewer has plenty of time to scour the frame and become immersed in the environment. McKinnon's work parallels the natural environment in an unyielding but also graceful way. The camera does not shy away when a character cries, but instead gives him space. The editor is not afraid to show awkward dialogue situations or show the aimless and devastated face of Ross as he sits alone in his kitchen or on a bench with Bruce. McKinnon's natural framing ultimately aligns with the natural world he's capturing and heightens viewer immersion.

The filmmakers approached their subjects-loss, family, and community with tremendous respect and graciousness. Bennett doesn't try to glorify or exalt the plights of rural farming simplicity, but instead develops a very human story in such an environment. In his accuracy and faithfulness to reality, he respects farming and that broader community. He doesn't shelter the viewer with falsehoods, but instead presents reality--and in his honesty and respect for the humanity of these people, elevates them in this way; he doesn't hide the grotesque and often frankly nasty duties of farm life-whether it be the birthing of calves or cleaning cow feces in the farm. What makes Bellbird special, and what I didn't appreciate until later, is its subtleties and gentleness. The film deals with heavy, emotional topics, in a placid, layered, but ultimately understated way. The complex emotional struggles of Ross aren't shoved down the viewer's throat, but are instead painfully applied in the long shots we see of Ross alone in the kitchen-a mirror shot to earlier when his wife accompanied him.

Excellent film, please go and watch it.

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.

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