Birth (4K Review) – Quietly Unhinged

Jonathan Glazer has carved out a niche in the film world, directing four features (so far), but each so very different to the last. Story, genre, cast and setting may divide Glazer’s filmography, but the atmospheric, cold, stylised and quietly unhinged tone in each film is undoubtedly Glazer’s signature. Released in 2004, Birth screened in competition at Venice and garnered attention, even earning Nicole Kidman award nominations. However, the film wasn’t received with open arms from the critics, citing that the film suffered from a disorganised plot and rather uncomfortable scenes. With the film’s Criterion Collection release, we are offered another opportunity to rewatch this strange and melancholic psychological drama about grief and obsession. 

Ten years after the death of her husband Sean, Anna accepts a proposal from her new boyfriend, Joseph. One day, a 10-year-old boy visits Anna’s family’s apartment, claiming to be her deceased husband Sean and urging her not to marry Joseph. As Sean insists he is telling the truth, everyone doubts the boy’s claim, except for Anna, who starts to hold out hope that maybe he really is Sean reincarnated. 

Unfortunately, this film is probably remembered for not only its premise, but the fact that Nicole Kidman’s Anna does kiss a 10-year-old boy. The moment itself is fleeting, and Anna has a terrified, stunned expression the entire time, but this is probably what stays in people’s memories. Though there are far more uncomfortable moments, in particular, when young Sean and Anna share a bath or when Anne Heche’s Clara admits that if she believed Sean is who he says he is, she would have explored a relationship. There are plenty of absurd scenarios and comments that just add to the experience when watching Birth. Yet the film’s purpose doesn’t seem to be to shock and disgust people. This is about one woman who is so torn apart by grief that she would absolutely open her mind and question her better judgement if it meant she could have her husband back again, in any form.

Anna’s desperation verges on obsession, offering a small insight into her marriage and also showing that her relationship with Joseph, though it doesn’t have the complete desire, is more stable and, in the long run, may have been better for her own well-being. Obsession creeps in from other characters as well; Sean, who declares his love for Anna any time he speaks, and Clara, claiming that she was more important to Sean than anyone else. Joseph could also be considered slightly obsessed with Anna, having pursued her for a year for a dinner date before she eventually agreed. Anna is forever changed, again, with the supposed reappearance of Sean. Her obsession newly ignited for the worse. 

Nicole Kidman give a great performance as Anna, but the spotlight should really be on Cameron Bright as young Sean. His constant stares, unblinking determination in convincing Anna who he is, is at times quite disturbing but also so quietly unhinged. He never raises his voice, he’s never violent, remaining calm throughout, and always expressing complete control. Bright’s performance is both the catalyst and the crux of the film, and he masters this so well.

Although the film does eventually try to offer a rational explanation, there is still room to question whether or not young Sean is really the reincarnated Sean. We are able to decipher for ourselves, which means we are also left to question Anna’s fate. The premise behind Birth alone is intriguing, and with Glazer’s tone added to it, it becomes a masterclass in what happens when you reopen old wounds and obsess about an implausible plausibility. 

4K Ultra HD Blu-ray Special Edition Features

Birth will be released on Blu-ray and 4K UHD on 9 February.