
The Return of the Prodigal Parrot (Part 2)
1987

Representation Score
Minimal
2002
Director
Aleksandr Davydov
Average Rating
No ratings yetNew Showbiz Analysis
The film serves as a commentary on the importance of representation. By focusing on a protagonist who feels excluded from mainstream media, the story explores the power needed to reclaim one's narrative. While it lacks explicit engagement with human-centric identity politics like race, gender, or disability, it addresses systemic exclusion. The plot shifts from passive observation to active cultural creation. Ultimately, the work functions more as a philosophical exploration of media's role in shaping identity rather than a diverse character study. It lacks the depth needed to address multiple aspects of identity.
Category Breakdown
The film does not include any LGBTQ+ characters or non-cisgender identities. There are no visible critiques of the assumption that everyone is straight or cisgender.
The film does not show any evidence of gendered power dynamics. It does not challenge traditional gender hierarchies.
Since the story focuses on bird characters, there is no direct engagement with human racial or ethnic diversity. Any potential metaphors for diversity are not confirmed.
The film critiques mainstream media through Kesha's rejection of television. Her transition from consumer to creator highlights themes of self-determination and identity.
There is no information about characters with physical, sensory, or neurodivergent disabilities in this work.
Present on Screen
Limited or Absent
Official Synopsis
Parrot Kesha is watching TV but, feeling offended, turns it off because movies are made about various animals — but not about him. Then Vovka suggests filming a movie with a video camera, which Kesha names “Dawn of Kesha the Parrot.”

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