---
title: "Birdman or (The Unexpected Virtue of Ignorance)"
year: 2014
kind: "film"
canonical: "https://film.one/film/birdman-or-the-unexpected-virtue-of-ignorance"
fi1m_id: "birdman-or-the-unexpected-virtue-of-ignorance"
imdb_id: "tt2562232"
tmdb_id: 194662
wikidata_id: "Q13255497"
fi1m_score: 82
critics_score: 81
critics_reviews: 15
published: "2026-09-15"
review_updated: "2026-09-16"
updated: "2026-09-18T08:37:47.593638+00:00"
region: "PT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Birdman or (The Unexpected Virtue of Ignorance) (2014)

Directed by Alejandro González Iñárritu · 2h 00m · IGAC M/14 · Drama, Comedy

## Identity

Birdman or (The Unexpected Virtue of Ignorance)

- **Canonical:** https://film.one/film/birdman-or-the-unexpected-virtue-of-ignorance
- **Type:** Film
- **Fi1m ID:** birdman-or-the-unexpected-virtue-of-ignorance
- **IMDb ID:** tt2562232
- **TMDB ID:** 194662
- **Wikidata ID:** Q13255497
- **Same entity:** https://www.imdb.com/title/tt2562232/, https://www.themoviedb.org/movie/194662, https://www.wikidata.org/wiki/Q13255497

**Fi1m score: 82** · Critics 81 from 15 reviews

*In a sentence:* Even the camera seems afraid to leave these actors unsupervised

> Michael Keaton makes a vain actor’s troubles funny and unexpectedly affecting. The continuous-shot illusion keeps this backstage comedy moving, although the screenplay works too hard to explain what the performances have already made clear.

## Synopsis

Riggan (Michael Keaton), a Hollywood actor whose career has faded, is mounting a Broadway play in an attempt to be taken seriously again. The theatre puts his ambition beside the demands of other people, including Mike (Edward Norton) and Sam (Emma Stone). Getting the production into shape means dealing with personal crises as well as the work on stage. Riggan’s need for approval follows him backstage, while fantasy intrudes on the practical business of his comeback. He wants this play to restore his standing, but his insecurities make it difficult to concentrate on the task.

## Review

*Birdman or (The Unexpected Virtue of Ignorance)* is a funny, restless backstage comedy whose actors are more persuasive than its speeches about art. Alejandro G. Iñárritu follows a faded Hollywood actor trying to recover his standing by mounting a Broadway play, and gives his vanity room to become painful. Riggan needs an audience to take him seriously, which is a difficult starting point for making anything with other people. We recommend the film, though its desire to explain celebrity eventually becomes wearing.

Michael Keaton makes Riggan’s hunger for respect difficult to dismiss, even when the man himself is difficult to like. His self-pity is embarrassing because he seems aware of how needy he is and unable to stop showing it. We were moved by the uncertainty on his face, especially because Riggan is so busy feeling sorry for himself. The performance keeps this from becoming two hours spent being asked to admire a famous person’s unhappiness.

Emmanuel Lubezki’s camera keeps moving through the theatre, and the apparent absence of cuts makes every encounter feel liable to spill into another. Editors Stephen Mirrione and Douglas Crise sustain that continuity without letting the technique become the only thing to follow. The effect is particularly useful in a comedy about people who cannot stop performing: nobody seems to have much chance to recover in private. It can be exhausting, but that exhaustion suits the people trying to get this play on.

Production designer Kevin Thompson’s theatre feels too small for the people trying to be important inside it, which is useful for the comedy. Antonio Sánchez’s jazz score gives the production’s bustle a nervous rhythm, keeping things lively without telling us that Riggan deserves our sympathy. Together, the music and the moving camera can also become rather insistent; there are moments when we would welcome some peace.

Edward Norton is especially good at making self-regard entertaining without making it attractive. His Mike gives Michael Keaton someone forceful enough to keep Riggan’s misery from filling every available moment, while Emma Stone gives Sam a welcome sharpness. The pleasure comes from watching performers who understand how much comedy there is in taking yourself seriously. Their competing demands make the theatre feel busy, and prevent Riggan’s troubles from becoming the only thing that matters.

The screenplay, by Alejandro G. Iñárritu, Nicolás Giacobone, Armando Bo and Alexander Dinelaris, is less willing to let us reach our own conclusions. Its points about fame and artistic seriousness sometimes arrive as explanations of things the performances have already made plain. The treatment of theatre criticism is particularly thin, inviting us to share a performer’s grievance without making the opposing case credible. These passages flatten a comedy that elsewhere allows us to find Riggan ridiculous and still care about him.

Backstage comedy works for us when the effort of putting on a show feels worth all the bad behaviour. Here the continuous-shot illusion lets us feel the concentration required to keep a performance going, and the cast gives us enough reasons to stay interested in the people doing it. We believe that this production matters to them, even when their reasons are selfish. Come for the actors, and be prepared to hear more about fame than anyone needs.

*Fi1m score 82, published 15 September 2026.*

## What the critics say

Most critics respond warmly to Birdman’s backstage comedy, with praise clustering around Michael Keaton’s exposed, ego-driven performance and the illusion of a continuous take. The reviews find vulnerability beneath his character’s vanity, while Edward Norton and Emma Stone draw notice among the supporting cast. The fluid camerawork gives the theatre setting momentum and captures the pressure of putting on a play. Many also welcome Iñárritu’s humour, finding the comedy increasingly poignant as professional ambition meets personal insecurity.

The spread is wide, however, with disagreement centred on the writing rather than the performances. Some find the satire sharp and the theatrical setting persuasive; others see familiar complaints about celebrity delivered with excessive explanation. Vulture admires the technique but finds the characters tiresome and the script unoriginal. Slant Magazine is harsher about the humour and lack of empathy, while Deadline praises Keaton but objects to dated Broadway clichés and the portrayal of theatre critics.

## Straight answers

**Is Birdman or (The Unexpected Virtue of Ignorance) worth watching?**

*Birdman or (The Unexpected Virtue of Ignorance)* is worth watching, and we scored it 82. Michael Keaton makes a vain, faded actor's hunger for respect funny and unexpectedly affecting, and the continuous-shot illusion keeps this backstage comedy moving. The screenplay explains fame and artistic seriousness more than it needs to, so come for the actors rather than the speeches.

**How long is Birdman or (The Unexpected Virtue of Ignorance), and what is it rated?**

*Birdman or (The Unexpected Virtue of Ignorance)* runs 2h 00m and is rated M/14 by the IGAC in Portugal. It is a drama and comedy film.

**Where can I watch Birdman or (The Unexpected Virtue of Ignorance) in Portugal?**

*Birdman or (The Unexpected Virtue of Ignorance)* is available to rent from Amazon Prime Video and Apple TV from €3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Birdman or (The Unexpected Virtue of Ignorance), and is it suitable for children?**

*Birdman or (The Unexpected Virtue of Ignorance)* carries a UK 15 certificate, so it is not for children, and its adult content is a matter of language and behaviour rather than violence. Our review found nothing frightening in it; the discomfort comes from watching a needy man embarrass himself backstage. Teenagers old enough for the certificate will manage it easily.

**How does Birdman or (The Unexpected Virtue of Ignorance) compare to All About Eve?**

*Birdman or (The Unexpected Virtue of Ignorance)* is the more restless of the two, with a moving camera and a jazz score that rarely allow anyone a private moment, while [*All About Eve*](https://film.one/film/all-about-eve) is cooler, crueller and more precisely written. Both make a vain performer's insecurity moving. We think the earlier film has the sharper screenplay, and Birdman the more physically inventive staging.

**What should I watch after Birdman or (The Unexpected Virtue of Ignorance)?**

After *Birdman or (The Unexpected Virtue of Ignorance)*, try [*All About Eve*](https://film.one/film/all-about-eve) (1950, Fi1m 90): For backstage ambition, precise cruelty and people who mistake applause for affection. Then [*8½*](https://film.one/film/812) (1963, Fi1m 91): Another troubled showman lets fantasy complicate the business of making his next work; and [*The Dresser*](https://film.one/film/the-dresser) (1983, Fi1m 80): Backstage dependence and vanity, with attention paid to the person doing the supporting.

### Reviews we read (22)

- **Time Out**, Cath Clarke (5/5): Iñárritu’s savagely funny and brilliant comedy about a washed-up actor’s Broadway reinvention is dazzling, intimate and carried by an infectious jazz score. Keaton is dream casting in a fearless, ego-driven lead role. [Read](https://www.timeout.com/movies/birdman)
- **Variety**, Peter Debruge (95/100, inferred): Michael Keaton delivers a startling comeback in Alejandro G. Iñárritu’s blistering showbiz satire about a has-been actor mounting a Broadway vanity project. The film is a triumph on every creative level, from casting to execution, electrifying industry and audiences alike. [Read](https://variety.com/2014/film/festivals/venice-film-review-birdman-or-the-unexpected-virtue-of-ignorance-1201287921/)
- **Los Angeles Times**, Betsy Sharkey (90/100, inferred): The director’s surrealist portrait of modern times and the cult of celebrity soars despite occasional flaws, with Michael Keaton delivering an intensely truthful performance that blends fantasy and reality effortlessly. Supporting turns from Edward Norton and Emma Stone add to the brilliance of the ensemble and technical execution. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-birdman-review-20141017-column.html)
- **Screen Daily** (90/100, inferred): A magnificent technical tour de force and smartly scripted black comedy that showcases Keaton’s range and charisma. Iñárritu delivers a precisely staged, real-time dive into an actor’s creative and personal crises. [Read](https://www.screendaily.com/birdman/5076649.article)
- **The Guardian**, Peter Bradshaw (90/100, inferred): The critic praises the film's delirious, hallucinatory showbiz comedy and technical virtuosity in its single-take style, calling it a delicious pleasure. He singles out Michael Keaton's performance as the failing movie star for its fiercely tender self-pity. [Read](https://www.theguardian.com/film/2014/dec/25/birdman-unexpected-virtue-of-ignorance-film-review)
- **Evening Standard**, Derek Malcolm (85/100, inferred): An expertly delivered black comedy about showbiz, celebrity, fantasy and reality that marks a genuine coup for the festival. Keaton has never been better in a performance that deconstructs an actor’s ego, with strong support and popular appeal. [Read](https://www.standard.co.uk/culture/film/venice-film-festival-birdman-or-the-unexpected-virtue-of-ignorance-movie-review-michael-keaton-has-never-been-better-9693103.html)
- **The AV Club** (B+): The critic finds the long-take style effective for capturing theatrical immediacy and creation's rush, though less successful as a star persona dissection, with strong ensemble work. [Read](https://www.avclub.com/nyff-2014-birdman-closes-the-fest-but-edward-snowden-1798272941)
- **Little White Lies**, Adam Woodward (5/4/5): The critic praises Iñárritu’s most innovative work yet for its continuous-shot style and technical brilliance. Michael Keaton delivers a career-highlight performance as the narcissistic, haunted actor Riggan Thompson. [Read](https://lwlies.com/reviews/birdman)
- **The Independent** (80/100, inferred): A bravura backstage drama that becomes funnier and more poignant as it goes, with heroism alongside vanity in the central project. It features strong ensemble turns, especially from Keaton and Norton, and astonishing cinematography that maintains momentum despite the theatre setting. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/birdman-or-the-unexpected-virtue-of-ignorance-venice-film-festival-opening-film-review-funny-and-poignant-9694212.html)
- **Vulture** (60/100, inferred): The critic admires the technical tour de force and energetic performances but finds the script unoriginal, characters tiresome, and satire lacking freshness. [Read](https://www.vulture.com/2014/10/movie-review-birdman.html)
- **Slant Magazine**, R. Kurt Osenlund (40/100, inferred): The critic notes the film's fascinating theater-world depiction and strong cast but criticizes the spoon-fed satire, puerile humor, and lack of novel insights or empathy. [Read](https://www.slantmagazine.com/film/birdman/)
- **Empire**, Ian Freer: The film is a compelling, unclassifiable portrait of artistic angst that starts as black comedy and becomes poignant and affecting. It is a tour de force of technique and performance, especially Keaton’s, that is vital, challenging and emotionally affecting. [Read](https://www.empireonline.com/movies/reviews/birdman-unexpected-virtue-ignorance-review/)
- **Film Comment**, David Fear: The critic calls the film an extraordinary work that drops viewers into an actor’s mind full of insecurities, vanity, and an inner critic, creating a dazzling subjective whirlwind. Praise goes to Michael Keaton’s vulnerable, career-highlight performance and Iñárritu’s shift to a more playful yet profound technical and thematic approach with the long-take style. [Read](https://www.filmcomment.com/birdman-or-the-unexpected-virtue-of-ignorance/)
- **The Hollywood Reporter**, Todd McCarthy: The critic praises the film's visually fluid tour de force direction and strong performances, especially Keaton's, in exploring celebrity and creativity, while noting some dramaturgical issues. [Read](https://www.hollywoodreporter.com/news/general-news/birdman-venice-review-727190/)
- **The New York Times**, Manohla Dargis (Critic's Pick): The film is a funny, frenetic and buoyant entertainment from Alejandro G. Iñárritu, with Michael Keaton as a Hollywood has-been mounting a Broadway play. It highlights the director's shift to a lighter mood while focusing on the actor's career redemption efforts. [Read](https://www.nytimes.com/2014/10/17/movies/birdman-stars-michael-keaton-and-emma-stone.html)
- **Total Film**, Jamie Graham: Birdman is a frenetic, splenetic and dizzyingly inventive backstage melodrama, showbiz satire and deconstruction of the ego that reaches beyond entertainment to explore parents, children and legacy. It is technically exhilarating with a vanity-free lead performance from Keaton. [Read](https://www.gamesradar.com/birdman-review/)
- **Den of Geek**, David Crow (5/5): The review describes Birdman as a true original and hypnotic primal screech for adulation, standing out amid other metafictions with its innovative single-take illusion and Keaton’s career-best tragicomic performance. It singles out the seamless Lubezki camerawork that turns the lens into a character and the film’s blend of drama, fable, and satire on fame and art vs. commerce. [Read](https://www.denofgeek.com/movies/birdman-review/)
- **The Playlist**, The Playlist Staff (A): The critic calls the film phenomenal for its mix of humor, thoughtfulness and inventive storytelling. They single out the dazzling one-shot camerawork by Emmanuel Lubezki as perfectly matched to the themes of risk and rebirth. [Read](https://theplaylist.net/venice-review-alejandro-gonzalez-inarritus-birdman-with-michael-keaton-emma-stone-ed-norton-more-20140827/)
- **Consequence** (80/100, inferred): The film is a bold, ambitious, dizzying satirical assault on the state of modern cinema that largely succeeds despite occasional pretension. Standout performances from Michael Keaton and Edward Norton are singled out for praise. [Read](https://consequence.net/2014/10/birdman-or-the-unexpected-virtue-of-ignorance/)
- **Collider**, Matt Goldberg (C-): The critic finds the film pretentious and overly explanatory, criticizing its lack of subtlety and heavy-handed satire on fame and cinema. The talented cast is acknowledged but undermined by the film's pandering and self-important approach. [Read](https://collider.com/birdman-review-michael-keaton/)
- **Deadline**, Jeremy Gerard: The critic praises the film's fluid camerawork and Michael Keaton's humane performance as a washed-up actor mounting a Broadway play. He finds the story's Broadway clichés outdated and its view of theater critics ludicrous. [Read](https://deadline.com/2014/10/birdman-soars-swoops-through-inarritus-broadway-fantasy-n-y-film-fest-850772/)
- **The Wrap**: The review highlights the film's intelligent, unpredictable look at actors and their egos, with strong ensemble work led by Keaton. It notes the director's newfound humor and the bravura continuous-take camerawork, while finding some fantastical elements occasionally precious. [Read](https://www.thewrap.com/birdman-venice-review-michael-keaton-emma-stone-naomi-watts/)

## Details

- **Director:** Alejandro González Iñárritu
- **Director:** Alejandro González Iñárritu
- **Writer:** Alejandro González Iñárritu, Alexander Dinelaris Jr., Nicolás Giacobone, Armando Bo
- **Cinematography:** Emmanuel Lubezki
- **Editor:** Stephen Mirrione, Douglas Crise
- **Music:** Antonio Sánchez
- **Production design:** Kevin Thompson
- **Costume design:** Albert Wolsky
- **Producer:** Arnon Milchan, Alejandro González Iñárritu, James W. Skotchdopole
- **Cast:** Michael Keaton as Riggan; Emma Stone as Sam; Zach Galifianakis as Jake; Edward Norton as Mike; Andrea Riseborough as Laura; Naomi Watts as Lesley; Amy Ryan as Sylvia; Lindsay Duncan as Tabitha
- **Runtime:** 2h 00m
- **Certificate (IGAC):** M/14
- **Release (Portugal):** 8 January 2015
- **Genres:** Drama, Comedy
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 2014); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2014)
- **Budget:** $18 million
- **Box office:** $103 million
- **Trailer:** https://www.youtube.com/watch?v=egYzOALlYyU

## Where to watch in Portugal

- Amazon Prime Video: rent €3.99, hd
- Apple TV: rent €3.99, hd
- Amazon Prime Video: buy €9.99, hd
- Apple TV: buy €9.99, hd

*Checked 2026-09-16.*

Also available in: AE, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HR, HU, IE, IL, IT, JP, KR, LT, MX, NL, NO, NZ, PL, PT, RO, RS, SE, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- AACTA International Award for Best Film 2015: AACTA International Award for Best Film (won)
- Academy Awards 2015: Best Actor (nominated); Best Sound (nominated); Best Sound Editing (nominated); Best Supporting Actor (nominated); Best Supporting Actress (nominated); Best Cinematography (won); Best Director (won); Best Picture (won); Best Writing, Original Screenplay (won)
- Independent Spirit Awards 2015: Best Film (won)
- Satellite Award for Best Film 2015: Satellite Award for Best Film (won)
- Dallas-Fort Worth Film Critics Association Award for Best Film 2014: Dallas-Fort Worth Film Critics Association Award for Best Film (won)
- Florida Film Critics Circle Award for Best Film 2014: Florida Film Critics Circle Award for Best Film (won)
- Las Vegas Film Critics Society Award for Best Film 2014: Las Vegas Film Critics Society Award for Best Film (won)

## If you liked this

- *All About Eve* (1950), Fi1m 90: For backstage ambition, precise cruelty and people who mistake applause for affection. — [Fi1m page](https://film.one/film/all-about-eve.md)
- *8½* (1963), Fi1m 91: Another troubled showman lets fantasy complicate the business of making his next work. — [Fi1m page](https://film.one/film/812.md)
- *Opening Night* (1977): For a more unsettling encounter between stage performance and an actor’s private distress.
- *The Dresser* (1983), Fi1m 80: Backstage dependence and vanity, with attention paid to the person doing the supporting. — [Fi1m page](https://film.one/film/the-dresser.md)
- *One Cut of the Dead* (2017): A scrappier comedy about performers struggling to keep a production moving.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/birdman-or-the-unexpected-virtue-of-ignorance