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There is an endearing looseness to the directing behind this film; it feels naturally impetuous and totally unburdened by convention, at least at the start, and as a result is a lot of fun.

This early sense of freedom and infectiously heedless impulsivity entirely matches the nature of its delightful protagonist Birdy (actually called Catherine) and while I’m not sure which leads the other it is a wonderful blend of tone and character.

I won’t suggest this movie is a step up for Lena Dunham who having called the shots on two previous features and a handful of episodes of her Emmy nominated and BAFTA winning TV show Girls, has already proved herself an accomplished director but it does seem to show an easy confidence and preparedness to let things flow that she may not have shown before.

What does feel very akin to Dunham’s previous work is the writing. Although it is considerably more suitable for younger audience, this film speaks honestly and bluntly to the female experience in the same way that Girls did and may be as refreshing to newly teenage girls as that was for twenty something women (and anyone who has ever been either).

Under this direction and script is Bella Ramsey who explodes onto the screen in a manner similar to Mille Bobbie Brown in Enola Holmes, a film this feels a lot like with its young female energy, first person narration and period setting. It also reminded me of the under seen Australian movie H is for Happiness whose adolescent lead is unfailingly jolly and charming throughout while silently screaming to be heard in the face of family trauma.

It is the historical background that presents the tragedy here because while Birdy is clearly loved by those around her she is growing up in a hideously unfair patriarchal society. This isn’t even Victorian England like with Ms. Holmes, here life is positively medieval. Maintaining the link with the sensibility of movie and its lead, the infectious energy of both deliberately starts to wain as Birdy loses some of her agency and the harshness of her existence starts to dominate. The fragility of mortality so typical of the time plays a part in this, especially in infants, but mostly it is the limits and demands placed on women that threaten the levity. What Birdy is railing against is the requirement for her to marry and what starts as a story of a woman showing her strength through independence of spirit becomes one of a barely teenage girl having to face wedding and bearing children with a boorish man probably four times her age. Catherine Called Birdy starts as one particular kind of feminist film and seamlessly switches to be another without ever losing its focus.

It is impressive how the narrative handles this without abandoning the humour and it all works toward a very satisfying ending. The film is based on a book published in 1994 by writer Karen Cushman and the escape I thought Birdy may find turns out to be entirely in line with that original story. Dunham has another idea though and it is better, bringing redemption for one character and a resolution that fits with the movie’s perfect blend of heroic optimism and harsh realism.

Catherine Called Birdy is ending a brief run in cinemas but is also available to stream on Amazon Prime. It is definitely worth your time showcasing a director finding new strengths, and presenting a lead female character who is strong, forthright, witty and courageous in the face of ingrained gender injustice. Birdy has the Ripley Factor but the stronger R and F here are repression and feudalism. Movies like The Princess and Brave may show women winning out against the patriarchy in a similar setting but what Dunham is saying here is what she has been saying all the way through her career; in the end can’t keep on kidding ourselves; ultimately we just have to grow up.