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Birth is a 2004 film directed by Jonathan Glazer and consists of acting performances by Nicole Kidman, Lauren Bacall, Danny Huston and Cameron Bright. Birth's storyline follows a young protagonist, Anna (played by Kidman), who is portrayed as the daughter of a prominent Manhattan-based family, as she gradually becomes convinced that her deceased husband, Sean, has been reincarnated in the form of a 10 year-old boy (also named Sean). Anna's initial skepticism is swayed by the child's intimate knowledge of the former married couple's life. Despite critical praise for various components of the film, including Kidman's acting and Glazer's direction, Birth generally received mixed reviews. Distributed by New Line Cinema, the film's worldwide box office earnings total was USD$23,925,492. In the opening of the film, a male narrator lectures to an unseen audience, explaining that he does not believe in the concept of reincarnation. The viewer then observes the narrator, Sean, running through Central Park in New York City, United States (US), where he subsequently dies of a heart attack.
Birth hangs its hat on a delicate premise that demands kid gloves if it seriously hopes to sustain the already shaky credibility. An elegant transition of life forces starts the film. Physician Sean dies while jogging. Simultaneously, a baby is born. Fast forward 10 years, where a cave-eyed child coincidentally named Sean (Cameron Bright) claims to Upper West Side basket case Anna (Nicole Kidman) that he is her reincarnated ex-husband. Anna's humorless fiancée (Danny Huston) scoffs at the idea. Her mother (a neglected Lauren Bacall) displays indifference. ('I never liked Sean, anyway,' she articulates.) But Anna's not so quick to write the boy off.
Shot under inadequate light and paced like a slug dragging a jet ski, Birth would gladly trade its right arm for the pleasure of being described as atmospheric. I'm going to go with 'sedated beyond the point of feeling.' Glazer's steady camera lingers for what seems to be an eternity on his leading lady's concerned face, hoping beyond hope to capture vital emotions of longing, guilt, grief, or suspicion. None register. Meanwhile, the naturally spooky Bright perfects these monotonous, robotic line readings, but little else. He states with no real enthusiasm, 'I'm Sean,' then waits for everyone to believe him. You'd imagine Sean's reincarnated spirit would be confused or upset. Bright has one facial expression - sleepy - so he can only carry his role so far.
Hard as this is to believe, but Glazer's cast actually entertains the notion of reincarnation, toying with the idea that this kid could be Sean. The trouble is we never share the group's blind faith. Most of the time, Anna and Sean behave like they have a valuable piece of information we haven't seen or won't be given. A key is eventually produced to unlock the film's secrets, but the solution to young Sean's insistence is laughably preposterous. Either Sean is Anna's dead husband or he isn't. By its final frame, Birth manages to avoid deciding on either option.