This article explores the double hybridity of media and cultural sources in Pat Collins' biopic Song of Granite (2017). This Irish-language film focuses on the life of famous sean-nós singer Seosamh Ó hÉanaí (Joe Heaney), whose instinct throughout his life, from Connemara to Scotland and New York, was to be always on the move – not unlike a migratory bird. I presuppose that both hypermediality and transculturality within the film demonstrate bird-like qualities themselves: musicality and mobility. A first-time viewer may expect a quintessentially Irish film: yet one is confronted, from the outset to the end sequence, with an intense hybridity – from literature or poetry up to film script, and often through music simultaneously. Firstly, I focus on the various types of intertexts on the screen, which are mostly deployed through many "direct" (yet still mediated) quotes from Irish legends and songs, shaping a problematic intermediality between music and literature at first, which is enhanced by the obsessive motif of the bird throughout the film, especially thanks to the meditation on Buile Shuibhne. Afterwards, I highlight the ins and outs of a foreign intertext which unfolds through a non-conventional and innovative form of hypertextuality with Icelandic novelist Halldór Laxness. Eventually, I point out to what extent the intertwinement of intermedial and transcultural phenomena through the bird motif bespeaks the intricacies of diegetic enunciation on all narrative levels in the film.