Telluride Review: Chloé Zhao’s Hamnet Reinforces the Importance of Art

      Hamnet is an exceptional work of empathy and undoubtedly the best film that Chloé Zhao has created by a significant margin. Based on the 2020 novel by Maggie O’Farrell, who joins as co-writer, the film serves as a beautiful reminder of the importance of art, showing how it can evoke feelings, foster understanding, and provoke thought.

      The story is quite straightforward: young Agnes (Jessie Buckley) marries the village’s master tutor William Shakespeare (Paul Mescal), and they have three children—an eldest daughter named Eliza (Freya Hannan-Mills) and twin younger siblings Judith (Olivia Lynes) and Hamnet (Jacobi Jupe). Judith's birth was precarious, and Agnes fears she might lose her second daughter at any moment. Having lost her own mother at a young age, Agnes finds comfort among her bees and her bird in nature. Many villagers consider her somewhat of a witch due to her claimed ability to foresee the future. Meanwhile, William is encouraged by his wife and bolstered by her brother Bartholomew (Joe Alwyn) to pursue his artistic ambitions in London. His prolonged absence becomes challenging to endure, especially as a great tragedy drives a wedge between Agnes and William, testing their resilience. In his sorrow, William writes Hamlet, a masterpiece of art.

      This film is hauntingly beautiful, supported by a score from composer Max Richter that stands out on its own. Cinematographer Łukasz Żal takes a thoughtful approach with his camera, while Zhao maintains a deliberate pace. This fluidity of movement allows emotions to catch up with you unexpectedly, reminiscent of hints found in The Rider and Nomadland, but perfected here. The moments of intimacy shared between Buckley and Mescal are so authentic that they're often breathtaking. The same applies to the child actors—Hannan-Mills, Lynes, and Jupe possess a rare naturalness. A particular scene where they play-act for their parents is one I will remember for a long time.

      The third act is where Hamnet transforms into something extraordinary: within the Globe Theater, we witness the intersection of life and art reflected on Agnes’ face. It’s a performance that’s difficult to articulate, as it seems almost unreal that someone can achieve such depth. Buckley’s expressions shift from confusion to anger to joy, all conveyed with minimal dialogue. Her realizations resonate deeply with the audience. Being enveloped by a story can sometimes be a remedy for our most profound troubles.

      We tell stories to help us survive, to comprehend our sorrow and joy. In a country that often hesitates to support the arts, there is an unfortunate, enduring belief that books, films, and music are mere luxuries or pastimes. However, they are fundamentally essential. They are as vital as breathing. Hamnet reminds us of this truth.

      Hamnet made its debut at the 2025 Telluride Film Festival and is set for a limited release on November 27.