Blackbird establishes very early that Randy’s sister Chrissie went missing six years earlier. He still puts up flyers with her picture on them all over town, even though she was 8 in the photograph, and presumably looks very different at 14. Meanwhile, crazy Claire affixes them to milk cartons at the local market. It seems unlikely that this backstory would exist unless the filmmakers planned to bring Chrissie home at some point, and it’s hard to imagine how that could be integrated into the film’s fairly lightweight narrative.
Well, it isn’t. At all. Even a tiny little bit. After Claire finds out Randy is gay and blames him for Chrissie’s disappearance, the police finally locate Chrissie, just a few minutes before the movie ends. And now that Chrissie is back, Claire is absolutely fine with Randy being gay. No longer an issue. Clearly not his fault. Meanwhile, Chrissie’s entire fucking six-year ordeal is treated as if she ran away from home for a week to live in the Metropolitan Museum Of Art. In a brief epilogue set a few months later, she seems totally fine, as if she’d never been gone. It doesn’t appear to have occurred to anyone involved with Blackbird that Randy’s adventures in self-affirmation look insignificant next to Chrissie having spent nearly half her life as someone’s prisoner. There’s something uniquely, staggeringly tone-deaf about introducing such a harrowing element solely for the purpose of making one character slightly more tolerant.