Joanne Mitchell’s ‘Broken Bird’ Takes Flight

As Broken Bird prepares for its UK digital release following a US theatrical rollout, writer-director Joanne Mitchell reflects on a journey that has taken her from shooting in Serbia to opening FrightFest in London, and now to audiences across the Atlantic. It is a path that mirrors the film itself, one shaped by emotional intensity, creative adaptation, and a willingness to explore the darker edges of human experience.

Mitchell admits that audience reception is always an unknown quantity, even after a strong UK premiere. “You never really know how a film will be received until it’s in front of an audience,” she says, noting that while Broken Bird is “a very British movie,” its emotional core travels. “I feel confident about the strength of the story and its emotional pull. It has a gothic, macabre tone with moments of dark humour, which I think US audiences will find distinctive rather than alienating.” Her aim is clear. “Ultimately, I would like audiences to be entertained, unsettled and emotionally affected in equal measure.”

At the heart of Broken Bird lies necromancy, though Mitchell is quick to reframe expectations. “I wasn’t drawn to necromancy as a subject in itself,” she explains. “What interested me was the experience of losing someone very close and the difficult ways people struggle, or fail, to let go.” In her hands, the supernatural becomes an extension of grief. “Necromancy became a way of externalising that emotional state. When we’re grieving, there’s often a desire to keep someone present, to refuse the finality of it.” The result is a film where emotional truth drives even its most disturbing imagery.

That commitment to perspective shapes the film’s more graphic elements. “It was never my intention for it to be shocking for the sake of it,” Mitchell says. “Everything came from Sybil’s point of view, however warped.” Central to that success is Rebecca Calder, whose performance as the troubled mortician anchors the film. “When I watched Rebecca’s tape I had a visceral feeling,” Mitchell recalls. “I physically felt myself leaning into the screen.” Calder’s interpretation, she adds, is key to the audience’s engagement. “She plays the part with such honesty and nuance, the audience can’t help but feel engaged and be taken on her dark journey.”

Production brought its own challenges, not least the decision to shoot in Serbia while maintaining a distinctly Northern English sensibility. “Before I went out there I wasn’t sure what I was walking into,” Mitchell admits. Yet the process ultimately reshaped the film for the better. “Once I started opening my mindset and being less fixated I could adapt my way of thinking.” That flexibility led to creative changes, including reimagining a Yorkshire pub setting. “I re-wrote the poetry night scenes into a kind of pretentious poetry bar… which I felt actually worked better.”

Tonally, Broken Bird walks a delicate line between horror and dark comedy, something Mitchell attributes to character-first storytelling. “A lot of the tonal balance comes from seeing the world through Sybil’s eyes,” she explains. “Her perspective isn’t entirely ‘normal’ and that gave me permission to play with tone in a way that felt truthful rather than flippant.” This extends visually, with contrasting environments reinforcing emotional states. “The funeral parlour has a strange warmth to it, contrasting to the clinical coldness of the mortuary.”

Mitchell’s influences reflect that balance between beauty and unease. She cites filmmakers like Guillermo del Toro for their ability to find “lyricism within darkness,” alongside the gothic psychology of Alfred Hitchcock, and more contemporary works such as Saint Maud. “They all place character at the centre while allowing something unsettling to grow around them,” she says, a philosophy that sits at the core of Broken Bird.

Looking back on her feature debut, Mitchell speaks with a mix of pride and perspective. “It has been quite a journey. I have learnt so much,” she reflects. “I am very proud of the film, but I certainly could not have done it without the amazing cast, crew and production team.” Among the many highlights, one stands out. “It was a huge highlight for everyone, for the movie to open London’s FrightFest Film Festival… I shall treasure that experience.”

Now, as Broken Bird reaches wider audiences, Mitchell is ready for the next phase. “I’m really excited for US audiences to finally experience the movie,” she says. It is a film born from grief, shaped by collaboration, and carried by a clear creative voice, one that suggests Mitchell’s journey as a director is only just beginning.

Broken Bird is now out in US cinemas and will be available to rent or buy in the UK via Amazon Prime Video, Apple TV, and Google TV from May 7, 2026.

Broken Bird trailer