Some films dare go places others never think possible. Birth is one, notable for a scene in which Anna (Nicole Kidman) bathes naked with a ten year old boy. It’s a riveting moment that tip-toes around the edges of so many dog-whistle issues, paedophilia being the most current. Despite all conventional wisdom, she has been seduced into thinking the boy is a reincarnation of her late husband. It’s problematic for her entire family as Anna does not withheld her feelings. It’s particularly problematic for her fiancé, threatened by events he neither understands nor controls.

Birth is a tough drama told with a heavy, claustrophobic air that permeates the elegant production - from Anna’s exclusive address to wintry locations in Central Park. The chilled beauty is further enhanced by a terrifically nuanced Kidman leading a splendid cast. As the young boy, Cameron Bright recalls Haley Joel Osment (The Sixth Sense) for creepiness beyond his years. Lauren Bacall is truly formidable as the family matron. Despite the story’s oddball conceit, Birth is a persuasive film that is defined by measured artistry. It’s visually magnificent and there is also a willingness to take time that gives the film its ace; few events are flagged and as they slowly reveal themselves, these moments impact with a sudden and ferocious punch.

Paradoxically, Birth works because characters are forced to embrace a situation they clearly don’t believe. It’s certain to polarise viewers, but few will remain unmoved if not unsettled by this quite remarkable film.

// COLIN FRASER