Thanks to last year’s Talk to Me, there has been a renewed interest in Australian cinema. The Philippou duo crafted a horrifying tale that would pave the way for the SXSW release of Birdeater. Directed and written by Jack Clark and Jim Weir, Birdeater offers a different type of horror fueled by deranged ecstasy.

A group of young friends meet up to celebrate a buck’s party (or bachelor party). Birdeater establishes early on that the gathering of young men with access to copious amounts of alcohol and drugs is a recipe for disaster. Going against convention, Louie (Mackenzie Fearnley), the groom-to-be, insists that his fiancée Irene (Shabana Azeez) join in on the fun. She agrees but mostly acts as a bystander who ensures the bucks are attended to as they engage in feral bachelor party behavior.

When Birdeater opens, it offers a glimpse of the young couple’s relationship. A fourth-wall-breaking shot of Louie glancing at Irene puts the action in motion. A brief montage of regular couple activities that border on the mundane suggests a buck’s party is a necessity to combat the boredom. However, included in these scenes are moments that suggest a considerable gap exists between the lovers. Louie’s decision to include Irene in an otherwise very male activity may serve as an attempt to close that gap but also hints that something more sinister is at play. As the film progresses, horrifying revelations bring the opening moments full circle.

As the group of friends converge on a secluded location, Birdeater begins delaying the group’s issues. Everyone seems well, but the film eventually touches on the lies they tell themselves and each other to maintain the façade. The cast revels in exploring this wilderness they inhabit, checking all inhibitions at the door.

Grace (Clementine Anderson) and her beau Charlie (Jack Bannister) are a celibate couple, possibly virgin, a terrifying secret that Charlie stresses over. Dylan (Ben Hunter) is the dude bro king who arrives with his own destructive intentions. His fear lies in losing his friend Louie, and he goes to extremes to stop the marriage. Murph (Alfie Gledhill) is the party’s substance supplier. A platonic relationship begins to blossom between Dylan and him, even though their fragile masculinity threatens to prevent any union. Adding further fuel to an already volatile group is the invite of Irene’s old polyamorous friend Sam (Harley Wilson).

Several emotional moments have been choreographed by Clark and Weir where ugly and embarrassing truths are revealed during confraternization. The Louie and Irene relationship is the central puzzle of Birdeater, yet direct and implied revelations threaten to expose all. Without entering spoiler territory, the matters at hand reflect society’s hypocritical nature. As much as society would like to believe it is progressing from archaic views, preconceived expectations still shape how people live their lives for fear of shaming at best or marginalization at worst.

Clark and Weir’s direction may seem rudderless at first. At points, Birdeater trudges along until suddenly, it races ahead with the power of a rocket. Moments of comedy seem displaced during serious conversation while a dreary ambiance permeates in stark contrast with what is happening on screen. Shots at the hands of Roger Stonehouse range from extreme closeups to wide, sprawling shots of the contours. However, by the time the visceral climax occurs, all these elements have been working to create an uncomfortable and awkward viewing experience. In this regard, the tone, albeit uneven, ultimately complements the subject matter.

For Irene and Louie, their situation is far more grave. Birdeater boldly raises important questions concerning coercive control and illustrates the devastating effects it can have on someone’s psyche. The film dives into disturbing territory with these conversations. Whether it be a truth-laden toast or a paranoic game by the fireplace that reveals what everyone is thinking in its silence, Birdeater is unafraid to get its hands dirty with all the filth it brings to light. An example that perfectly reflects this is when Murph begins to vomit and convulse just in time to get a contentious conversation to end.

Despite some uneven moments throughout, Birdeater proves to be an impressive directorial debut for Clark and Weir. They effectively travel the wasteland of depravity they have created on the way toward an inconclusive final scene. As the characters eventually sober up, the shame of their toxic and enabling behavior weighs heavy. Heavier still is the uneasy and sickening feeling Birdeater leaves with its audience.

Borja’s rating: 7.5/10Watch Birdeater at SXSW 2024. Check out its SXSW for showtimes. Check out our SXSW 2024 coverage! We are reviewing movies, breaking down events, and interviewing talent!The post SXSW 2024: BIRDEATER – A Manic Laced Trip Down Toxic Relationships appeared first on Sunshine State Cineplex.