Birdeater

"Birdeater" a new indie Australian film making its feature debut, presents an interesting but slightly messy journey. The movie skillfully blends different genres while tackling the tough subject of a toxic relationship, leaving viewers feeling a bit uneasy yet engaged.

The standout moments come from its captivating fever dream sequences, adding a fantastic visual layer to the story. The plot follows Irene, who joins her fiancé Louie's unorthodox buck's party weekend, leading to unexpected and unsettling events. Louie's groomsmen's actions take the celebration into a wild, drug-induced ride, painting a darkly humorous and thought-provoking picture of young Australian men.

Although "Birdeater" isn't flawlessly executed, its willingness to explore challenging themes and the imaginative use of fever dream sequences make it a noteworthy contender in the indie film realm. For those intrigued by boundary-pushing storytelling that blends genres, this movie might just be worth checking out.

Billed as an Australian psychological thriller, whose inspiration clearly and proudly comes from one of the great grandfathers of iconic Oz cinema in the form of Wake in Fright (eagle eyed viewers will spot that films poster appearing in this film), filmmakers Jack Clark and Jim Weir herald in their directional debuts with the impressive if equally frustrating experience that is Birdeater.

Celebrating successful festival runs over the last 12 months and launching recently into select Australian cinemas, Birdeater embraces its "feral" moniker in parts as a planned to be quiet bachelor/bucks party weekend goes off the rails when past and present trauma between soon to be married couple Louie and Irene comes to the surface in a stereotypically boys only environment that has on this occasion become something else.

Building its early foundation with a great set-up, with Clark and Weir beginning their debut affair with some fantastic mood setting courtesy of memorable work by DOP Roger Stonehouse and some hugely atmospheric score work by composer Andreas Dominguez, Birdeater really races out of the blocks with a narrative loaded with potential but sadly the narrative juice at the core of this exploration of toxic relationships, mental health, male fragility and psychological warfare runs out of steam well before the half-way mark, a huge problem for this two hour exercise that is unable to sustain its early momentum.

There's still a lot to like here and it's not hard to see why the film became an audience favourite with attendees at festivals such as SXSW Austin, the Melbourne International Film Festival and the Sydney Film Festival as Birdeater is unafraid to tackle some fairly weighty (if perhaps overly used themes in Australian products) and the performances and filmmaking craft on display here are undeniably above average for a low-budget independent film made on Australian shores.

Getting a lot to work with in a feature that prioritizes dialogue above all else, all cast members of Weir and Clark's darkly comedic dramatic thriller acquit themselves well with leads Mackenzie Fearnley and Shabana Azeez in particular standing out with some well-rounded performances while Ben Hunter as wildcard and the slightly unhinged Dylan making a mark as a character that you're never sure of motivational wise or ability wise.

Standing out from a crowded marketplace filled with similarly aimed independent offerings that often struggle to find notice in Australia's not always welcoming local marketplace, Birdeater can be commended in a multitude of ways but there's no escaping that there's a noticeable inability to maximise what could've been as this initially gripping feature gives way to one you will be anticipating finishing more than once throughout.

Final Say -

There's a lot to like about Birdeater and there's evidence on display here that Jack Clark and Jim Weir have what it takes to make a mark locally and abroad but after a bright starting point, their film becomes more of what could have been not a contender, disappointingly failing to become a must-see it at times showcases to be.

3 dinner toasts out of 5

Jordan and Eddie (The Movie Guys)

I don't know what that was all about.

I normally can point a few good things out but this time can't. I even read the other comments to understand this movie but that was in vain I'm sure anyone rating it higher than a 4 worked on the film.

I wasn't behind the scenes, I wasn't writing it nor directing. But you would think at the first audition or table read that someone did not put their hand up and say " I don't get"?

Some directors, writers just can't seem to make a decent enjoyable movie without it being overly over the top "complicated."

It might have worked worked as a short movie rather than 1 hour and 55 minutes.

What happened to the characters? Why was that woman dancing in nude. How about that ending ( scratches head).?

I read it was their first time directing or writing but you're only as good as your last film. I hope they getter better for a mainstream audience. However this TEAM has the skills and tools to do a better film. The actors I hope to see more off.

All the best on your next project.( make sure your audience can understand what's coming from your mind to script.

I was so bored watching this, this is certainly a VANITY project - made by filmmakers for themselves, Aussies dont even care what an audience will think or FEEL in this case - you feel nothing because no surpises but there isnt a PLOT here. PLOT = STORY- this has none of that , a bunch of disjointed svcenes with mubbling dialogue is NOT a story. I implore the filmmakers and the people at BREATHLESS to study screenwriting. 30 minutes in and nothing has really happened.

But then searching online I find the guy who started the SFF Sydney Film Festival is a cofounder of the production company. So, the fact that all BREATHLESS film were accepted into the festival Not based on their merit is a CONFLICT of interest. And there have been far superior films made in SYDNEY that didn't get into the festival - explain that? Thid film is trying to be artistic, trying too hard to be different, so it has a unique voice. BUT to do that you need STORY, and this lacks that as well as the super loud sound design and music that drowns out the mumbling dialogue. On that note that sound design is too weird it wrecks the atmosphere of an already doomed picture. There is no strong anything here at all, the actors seem uncomfortable and the chemistry between the 2 leads is so awkward and is bad casting. And once again we are in the middle of the bush with a bunch of white people with the one token black girl, no diversity at all. The lead is not chiasmatic or interesting or engaging, just wooden and 2 dimensional. The film is shot well, so that's all I can give marks for. And 2 hours for this is way too long when you have no story to tell, using the film reference Wake in Fright as inspiration or in Homage to is just so wrong as it doesn't even come close. In the final 10 minutes the film tries to invoke a LESSON but it's too late when there was no story to begin with. People will say that you didn't understand the film but that's rubbish, in closing don't waste your time. Read my other reviews to see how supportive I am of the film-industry in Oz, I go and rent and buy all Aussie films and even go out to all the Q&A's so read my reviews and you will see what the very best of OZ Cinema has.

Birdeater throws Irene (Shabana Azeez) headfirst into a nightmare. What starts as a bucks weekend getaway for her fiancé Louie (Mackenzie Fearnley) and his mates quickly spirals into something far more sinister. The film cleverly avoids revealing its hand too early, building an atmosphere of dread laced with dark humour as the true intentions behind the trip become clear.

Birdeater courageously delves into the dark side of masculinity. The blokey camaraderie on display curdles into something toxic, fueled by excessive drinking, questionable decisions, and a pervasive sense of entitlement. The film reminded me a bit of Wake in Fright, another Australian classic that explores similar themes (there's an explicit reference to it in one scene if you watch carefully). But Birdeater injects a healthy dose of surrealism into the mix. Think of waking dreams and hallucinations that blur the lines between reality and psychosis.

The performances are solid, with Azeez holding her own as the increasingly isolated Irene. She believably conveys a growing sense of fear and confusion as the weekend unravels. The rest of the cast falls into familiar archetypes - the loudmouth larrikin, the nervous follower, and the quiet observer. While they're effective in creating an unsettling group dynamic, there's not a lot of room for nuance in their portrayals.

The real star of the film is the editing. It's sharp and frenetic, mirroring Irene's escalating anxiety. Fast cuts and jarring transitions create a sense of unease, leaving you perpetually on edge. The camerawork is similarly effective, often lingering on unsettling close-ups or lingering on empty spaces, adding to the overall sense of dread.

The film's greatest strength lies in its atmosphere. The Australian outback becomes a character in itself, vast and unforgiving. The use of colour is particularly interesting. The initial scenes are bathed in warm, golden hues, suggesting a sense of normalcy that quickly gives way to a cold, sterile palette as the weekend takes a dark turn.

However, Birdeater's plot takes a while to get going, and some of the dream sequences felt a little indulgent. The ending, while ambiguous, left me wanting a bit more resolution.

Overall, Birdeater is a compelling, albeit uneven, film. It's a slow burn that will stay with you long after the credits roll, thanks to its chilling portrayal of a toxic relationship and its exploration of the darker aspects of masculinity. If you're looking for something atmospheric and thought-provoking, Birdeater is worth a watch. But if you crave a clear-cut narrative and a satisfying resolution, you might want to steer clear. I walked away feeling unsettled but impressed by the film's visual style and its unflinching portrayal of uncomfortable truths.