Bird in Hand (2025)

-Written by Kyle Bain. 

2025 TRIBECA FILM FESTIVAL REVIEW! 

A bride to be, Bird (Alisha Wainwright), must face the ghosts of her past and come to terms with the life she has led. Bird in Hand follows the titular Bird as she attempts to rekindle relationships with estranged family members and right the wrongs that have plagued her existence for some time. 

The synopsis itself might lead potential viewers to believe that Bird in Hand is incredibly heavy, with little to no levity. Though comedy plays a prevalent role in Bird’s story, often presenting more hard-to-swallow ideas and scenarios with a comedic light that helps to develop balance and accessibility. Comedy can sometimes be overbearing when used as a crutch in dramatic films, but Writer-Director Melody C. Roscher manages to develop effective comedy that supplements the primary premise of the film, only allowing that drama to become fully realized as a result. The tonal balance achieved in Bird in Hand is inspired, making the film accessible to all, and allowing the series of issues that befall Wainwright’s Bird to feel far more honest and natural. 

There are individual instances in which I hoped the narrative would have taken a slightly different approach, where Bird would have had the opportunity to develop in a different way. I can remember pleading with the characters in my head, begging them to make specific decisions–only to be let down. I can’t say that the decisions made by Roscher in these instances were wrong, but that they disappointed me. Though, Bird in Hand may actually fail in some regard, as characters sometimes fall victim to the old cliche, one step forward, two steps back. 

Bird in Hand opens to a chaotic scene (one very fitting for the title character) in the city, the film quickly transitions to a far more rural scene in which a history of racial tension likely existed. While there are certainly racial undertones present as a result of Bird being biracial, that narrative takes something of a backseat, and allows the serene natural setting to seep into Bird’s primary narrative. While she often struggles to find her way, the juxtapositional beauty present all around her plays a paramount role in her development throughout the course of Bird in Hand. At first it plays the role of opposition, allowing viewers to see her flaws–as the film progresses (though her flaws never truly become lesser), the captivating aesthetic works as a way to accentuate her inner (and outer) beauty. In the case of Bird in Hand, location is of the utmost importance, playing a prominent role that has the ability to alter certain aspects of the film, and strengthen others. 

The initial expectation of this bride to be attempting to get her ducks in a row as she plans for her wedding are quickly subverted (even quicker than viewers initially notice), and the storyline that becomes most prominent is far more compelling than the former. Bird in Hand is grounded, expressing sentiments that everyone can appreciate and find access to. Beautiful sets strengthen the film, and brilliant acting only further reels viewers into the film. 

My final take away from Bird in Hand is this: Wainwright is a star, one that has the chops to lead the best of the best, resonating with viewers every step of the way. 

Written & Directed by Melody C. Roscher. 

Starring Alisha Wainwright, Christine Lahti, Annabelle Dexter-Jones, James Le Gros, K. Todd Freeman, etc. 

8/10 = WORTH RENTING OR BUYING