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The way Alli absorbs Tinja’s anxieties reflects the way the girl’s mother has raised her, reinforcing her own toxic perfectionism on her child. As Tinja cares for Alli, feeding her, protecting her, the two become true doubles, more physically alike and psychically linked. The script, by Ilja Rautsi is a classic monster movie, using the violent humanoid bird creature as an external representation of Tinja’s repressed emotions. Alli, in turn, seeks to protect and care for Tinja the only way she knows how: by attacking those she sees as Tinja’s enemies. She names her new friend Alli, after a lullaby her mother sings. When the egg grows huge and hatches and a giant, black, bird humanoid emerges, Tinja’s maternal instincts kick in. She nests the egg in her bed, a secret that cannot be mined for content for her mother’s blog, “Lovely Everyday Life.” It’s something that cannot be nitpicked or criticized, like her gymnastics practice, where her mother acts as a stage mom, pushing her daughter to perfection. She finishes the job, beating it to a pulp, and assuages her guilt by taking home the large, speckled egg she discovers nearby. But that night, the screams of the reanimated animal summon the girl outside. Tinja’s mother (Sophia Heikkilä) kills the bird without batting an eye and instructs her daughter to dispose of it in the trash.
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Our heroine Tinja (Siiri Solalinna, in her film debut) finds the mysterious egg after a traumatic incident in which a raven crashes into her family’s picture perfect house, wreaking havoc. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the CDC and local health officials. The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic.