Bellbird

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

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.

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.

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.