Writer-director Andrea Arnold is a one-off. She seems to be rooted in British urban realism - films like Fish Tank and this week's Bird.
But she also directs hit TV series like Big Little Lies, and surreal features like Cow - I quote - "a close-up portrait of the daily life of two cows." It's an hour and a half long.
My favourite quote of Arnold's is: "I went to film school; you'd just never know it".
My least favourite quote of hers is describing Bird - a staggeringly brilliant blend of Ken Loach and a Grimm fairy tale. "Don't call it magic realism," she warns. But you've got to call it something...
The best I can do is tell you what happens.
We meet Bailey, who's 12.
Twelve going on 30 - she's certainly the most mature person in the film.
She looks at things, mostly birds, through her cheap cellphone. Until her dad, Bug, barges in.
Bug, a heavily tattooed Barry Keoghan, is a hopeless optimist, despite, well, despite everything.
He's got great news for his daughter - Bailey has heard this all before.
Nevertheless, she hops up on the back of Bug's scooter - no-one has a car or even a bike in Bird - to see what's on his mind.
It won't be a job. Nobody in this film has a job. What's most likely is Bug's girlfriend Kayleigh's having another baby. I know, Kayleigh and Bailey.
Kayleigh already has a two-year-old girl, while Bailey has a slightly older brother Hunter who lives with them, and three far younger siblings, who don't.
But I've not told you Bug's news. He's bought Bailey a shiny purple outfit to wear as his and Kayleigh's bridesmaid. That's right, they're getting married.
And before Bailey can ask. Bug tells her they'll pay for it with his new cash cow. Not a cow, of course, a gigantic cane toad. You lick it to get high. It's money for nothing.
Bailey doesn't want to hear any more. She takes off to join Hunter and his equally delusional gang of friends who see themselves as a sort of Estuary Avengers, going around righting wrongs.
At the end of a long night, Bailey ends up fast asleep in a field, being woken up by horses. And by a strangely-dressed European chap calling himself Bird.
Which is where the story really starts. Now if you're not already an Andrea Arnold fan - unlike movie star Barry Keoghan who turned down a big pay-day on Gladiator 2 for the chance to work with her for a pittance.
Anyway, if you're not already committed, you may be saying "This is where the story starts? What story? This sounds crazy."
Photo: supplied
But there's method to Arnold's eccentricity - not least her attitude to script. Most film school graduates lay out their structures carefully, each scene leading to another, every element designed to support the plot.
Arnold's approach is more like a jigsaw. She starts with an attractive piece, then wonders what fits with it - what happens before, what happens later.
She was initially fascinated by the character of Bird who seemed to land in Bailey's world from out of nowhere.
But it soon became clear it was entirely Bailey's story - or at least the story from Bailey's point of view. It's about her reconciling with her family, and in some cases saving them. Who's the real Avenger here?
But it's also about living her life. If Arnold's films are like anyone's it might be Sean Baker of Anora fame. There's no judgement, there's just getting on with it.
And if the solution may be a little unexpected magic - then these are people who deserve a bit of that.
Don't worry, I'm not calling it anything. I'm just going to say it's one of the top two or three films I've seen in an already above-average movie year.
I wonder if that's the key to saving the industry - a string of really good movies. It's an old trick but it might just work.
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