Scott writing for The New York Times puts it, “both spellbinding and heartbreaking, a delicate chamber piece with the large, troubled heart of an opera.”įrench New Wave luminary Louis Malle’s controversial coming-of-age story embraces accidental incest in the town of Dijon.
There’s something histrionic about the emotional insecurity that Birth boldly emblazons, and it makes for something of a malefic love letter, a lamentable billet-doux from a gifted director. Nicole Kidman is Anna, a Manhattan widow who slowly comes to believe the claims of a ten-year-old boy named Sean, who repeatedly tells her that he is the reincarnation of her late husband, also named Sean, who died suddenly ten years hence. Jonathan Glazer’s criminally misunderstood second feature Birth combines a sedated surrealism with a powerful meditation on belief and its connection to love and the result is a confrontational and compelling pièce de résistance.
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