Director: Jonathan Glazer
Screenplay: Jean-Claude Carrière, Milo Addica, Jonathan Glazer
Starring: Nicole Kidman, Cameron Bright, Lauren Bacall, Danny Huston, Alison Elliott, Arliss Howard, Anne Heche, Peter Stormare
Country: UK, Germany, USA
Running Time: 100 min
Year: 2004
BBFC Certificate: 15
Jonathan Glazer started his career as a director in the theatre, as well as in music videos and commercials. In those latter two fields, he produced some incredibly iconic work throughout the 1990s and early 2000s. For instance, he directed videos to Radiohead’s ‘No Surprises’ and Jamiroquai’s ‘Virtual Insanity’, as well as being the creative force behind the most memorable Guinness campaigns, including the award-winning ‘Surfer’ advert (look it up if you’re not sure what I mean).
The success of these helped lead Glazer into directing feature films, where he has gradually made a name for himself, taking his time to produce a small range of bold, often challenging films that have been well received, if not always setting the box office on fire. His most recent film, Zone of Interest, even bagged him an Oscar for Best International Film.
His second feature film as director, Birth, wasn’t originally a critical success, leading many to see it as a misstep in an otherwise strong filmography. However, respect for the film has grown over time. Now, the illustrious Criterion are adding the title to their collection on UHD and Blu-ray. I got hold of a copy, and my thoughts follow.
Birth has quite a simple premise. To quote Criterion, “Nicole Kidman delivers a masterfully multilayered performance as Anna, a widow still mourning the death of her husband a decade earlier when she meets Sean (Cameron Bright), a ten-year-old boy who claims to be his reincarnation – leading her into a wrenching confrontation with her own unresolved grief and desires.”
It’s a concept that sounds a little ridiculous on paper, but Glazer turns it into an artful, quietly powerful film.
It’s a film that, among other things, is about the power of love, but not in the cheesy way that might sound on paper. Instead, Birth explores the overwhelming, consuming, potentially dangerous power of love. Anna is a fragile woman whose recovery from grief is shattered by a revelation that is more than likely a fantasy. That glimmer of hope almost destroys her.
The concept leads to some dark areas that may partly explain the mixed response to the film. The characters contemplate the sexual side of Anna and Sean’s relationship, once she believes the young boy’s claims. Nothing untoward actually happens, though an uncomfortable bathtub scene stirred up controversy at the time.
The film is unnerving in general, aided by Glazer’s approach that keeps dialogue to a minimum and occasionally holds on shots for longer than you’d normally expect. There’s a particularly effective sequence where the camera slowly pushes in on Anna and holds on a close-up as she attempts to process an early confrontation with Sean, during a classical concert.
This scene, and indeed the film as a whole, is aided by an astonishing performance by Nicole Kidman. She usually delivers the goods, whatever she stars in, but there’s a frailty to Kidman’s character here that is not often seen in her roles, which are typically more confident.
Young Cameron Bright is also highly effective, with his deep conviction driving the central concept. He has an adult air about him, further adding to the unsettling atmosphere.
On top of the relationship between Kidman and the young Sean, we examine those between Kidman and her fiancé Joseph (Danny Huston), as well as with her mother (Lauren Bacall). These two other key people in the character’s life can be quite controlling, bringing in another theme to explore.
Class seems to play a part too. Kidman and Joseph come from very wealthy backgrounds, whereas the young Sean is from a working-class family. This, and a final act revelation that I won’t go into here, suggest that Anna has always been living in a sort of fantasy, a bubble, if you will.
Stylistically, it’s a striking film, with Harris Savides’ cinematography making the bold move to slightly underexpose many of the scenes, keeping details a little out of our reach. There’s great use of movement in places too, and a deliberate pace to the editing.
Alexandre Desplat’s score is interesting too, creating an almost whimsical, fairy-tale-like atmosphere, but with a subtly ominous air.
Overall then, Birth is a strange and fascinating film that can make for uncomfortable viewing, but is exquisitely made and deeply thought-provoking.
Film: 
Birth is out on 2nd February on 4K UHD & Blu-Ray in the UK, released by The Criterion Collection. I watched the UHD, and it looks stunning. The crisp but often purposely underexposed cinematography suits the HDR 4K format perfectly. It sounds pristine too.
DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURES
– New 4K digital restoration, supervised and approved by director Jonathan Glazer, with 5.1 surround DTS-HD Master Audio soundtrack
– One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
– Interview from 2004 with Glazer and actor Nicole Kidman
– New documentary on the making of the film featuring behind-the-scenes footage and interviews with Glazer, producers, and members of the cast
– New program on the film’s cinematography featuring interviews with camera operator Craig Haagensen and first assistant cameraman Eric Swanek
– Trailer
– English subtitles for the deaf and hard of hearing
– PLUS: An essay by author Olivia Laing
– New cover by Neil Kellerhouse
There are two behind-the-scenes documentaries included in the set. One was made in 2025, though it uses a lot of material shot for an epk made in 2003. Anchoring this newer piece is a recent interview with Glazer, who discusses each stage of the filmmaking process.
The archival documentary is more technical, looking solely at the film’s cinematography. It’s perhaps too technical for your average viewer, discussing lenses and film stock etc. However, if you have an interest in the deeper craft of filmmaking, it’s an illuminating piece.
There’s also an archival interview with Kidman and Glazer. Whilst it’s, in essence, a press junket piece, it’s a good one, with decent questions asked and time available for thoughtful answers.
I didn’t receive a copy of the booklet, unfortunately.
So, Criterion have put together a solid package to complement this fascinating film. Recommended.
Disc/Package: