It’s always tricky when a film tries to depict depression, from the subtleties of being distant to the darkness brought upon by a key event. There’s some admiration in trying to seek that introspective sensation in H Is for Hawk, adapting the memoir of the same title by Helen MacDonald. But for a film that features the bond between a woman and a hawk, the story tends to get lost in the mesmerizing creature, focusing more on quirks than growth.

Claire Foy does give an admirable performance, but mostly for being called upon to do so much in this film. Not only does she play Helen as a distracted, depressed woman struggling to let go of her late father (Brendan Gleeson), but she also has to perform alongside an Eurasian goshawk in the same scenes. She pulls off the role of a falconer fairly well, composing herself amid the bird’s flustered feathers and delighting in his accomplishments of flight and feast. These moments are never overplayed with schmaltzy music or chipper joy begging for a needle drop, letting the silent sadness linger over the animal care.

As the story progresses, Helen becomes increasingly engrossed in the bird rather than the more pressing issues on her plate. She can’t bring herself to write the eulogy for her father’s funeral, where soft memories and fascinating photos of his legacy only slowly make the words come easier. Her teaching job is soon to end with that final to-do list, including a lecture to her students and finding a new place to live off campus. She hasn’t prepared for any of it, and those around her struggle to offer help without pushing her too hard.

Early in the film, as Helen begins her training with the goshawk, a visit from a friend makes her feel a little tense as she attempts to feed her bird, stressing that eye contact can’t be made during this time. The two of them sit fairly stiff as the bird grows comfortable enough to chow down among humans. While there is some delight in their voices as they realize the comfort being established, there’s still that air of caution about maintaining calm. That tone reflects the film as a whole, where the fascination with a goshawk’s performance not only steals the show but also takes over the film’s thematic focus. Because while it is fun to watch as the bird starts flipping paper balls in the air and puffing up around people, the milestone of the bird hunting down prey is treated with a mood so natural it might as well be a routine nature documentary.

The natural element of Helen’s obsession with her hawk and her feelings for her father are maddeningly treated with a muted response. There are bits and pieces of humanity strewn throughout the smattering of scenes. The nonlinear memories of dad conjure up his love for the smell of old books, making for a compelling trigger that doesn’t expand much. The same goes for the reactions of the faculty who look down upon Helen’s hobby, but without much bluntness or drama, approached with a gentleness so graceful that the stakes feel low despite homelessness being a factor. Even a moment of connection between an immigrant and Helen’s hawk feels like a wasted chance to explore another perspective on the world.

H Is for Hawk tries to distract from its grief-based drama with an eye-catching hawk, but the story of depression gets lost in the feathers. I will say it is impressive how well Claire Foy handles herself around a bird, but the performance is more intriguing for her handling than for her character. In the same way that some audiences become easily distracted whenever a cut or compelling animal graces the screen, this film also veers away from the tougher topics for the simpler sensations that come with training an animal. It sure does seem easier to film scenes of a bird learning to fly than to encapsulate the internal pain of losing your father. This is a movie that tries to fly far away from its psychological elements, hoping you’ll be more impressed by the distance than by the avoidance.

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