Hamnet (2025) - Film Review

      Hamnet, 2025.

      Directed by Chloe Zhao.

      Featuring Jessie Buckley, Paul Mescal, Emily Watson, and Joe Alwyn.

      SYNOPSIS:

      A narrative of love and loss that led to the creation of Shakespeare’s enduring work, Hamlet.

      Chloé Zhao’s adaptation of Maggie O’Farrell’s novel, Hamnet, comes with impressive credentials: a lauded source material, the support of Steven Spielberg and Universal Pictures, and a cast fronted by young Oscar-nominated talents Paul Mescal and Jessie Buckley. On paper, it seems to have all the hallmarks of a prestigious film. However, in reality, the film exhibits frustrating craftsmanship and lacks emotional depth.

      Zhao portrays her Elizabethan setting on a grand scale, yet it feels devoid of warmth. Stratford is shown as a bleak, joyless environment, a place that never resembles a true home. The lighting is predominantly natural and overcast, with sunlight only appearing fleetingly when William Shakespeare (Mescal) is either writing or momentarily engaging with his children. Though the production design is impressive in size, it is intentionally minimal, primarily showcasing earth tones with minimal set decorations. The few scenes that infuse light and life—a charming meet-cute, a striking birthing moment, and the Globe Theatre stage—are sparsely scattered throughout its meandering two-hour duration. In summary, the film tends to be rather dull.

      A moment of vibrancy emerges during a fragment of Hamlet performed for an astonished audience, where the actor portraying Hamlet (Noah Jupe in a standout performance) reaches out from the stage as if the audience were part of the earth itself. Curiously, the earth seems to respond.

      However, this beautiful scene is undermined by a well-known musical cue: Max Richter’s “On the Nature of Daylight,” which was previously used effectively in the Academy Award-winning film Arrival, not long ago, along with many other projects. Its inclusion highlights a significant flaw in the film—a dependence on obvious, borrowed emotional triggers rather than genuinely establishing its own. Consequently, the film often instructs viewers on how to feel rather than allowing authentic emotions to arise naturally.

      Mescal, known for portraying somber young men (in Normal People and Aftersun), assumes the role of Shakespeare as a distant, passionate, and tormented individual. This interpretation, while less mythic and more human, still lacks the essence of a fully realized character. Buckley, both fiery and ethereal, dominates the screen as Agnes, given several poignant scenes that feel like Oscar material. In her earlier performances (I’m Thinking of Ending Things, The Lost Daughter), Buckley thrived in roles that allowed her to do more with less, but this film unfortunately does not afford her that opportunity.

      Despite sharing precious few scenes together, the duo's relationship is portrayed in broad strokes: a whirlwind of physical desire, the mythic portrayal of childbirth, followed by extended, silent separations as he departs for London while she grieves alone. Agnes is referenced as “witchy” within their village, yet the film hesitates to fully embrace the magical realism that could have added a more engaging and vibrant texture to the story.

      Throughout, Zhao’s direction leans toward symbolism while her writing adopts a literal approach. Dialogue often explicitly states feelings that could be conveyed through performances and visuals alone. The screenplay, co-written by Zhao and O’Farrell, seems overly cautious and predetermined, prioritizing clarity over vibrancy. A poignant image of water pouring underneath the door as Agnes's waters break coincides with her mother-in-law stating she cannot leave due to the storm. The filmmakers appear to worry that viewers may overlook the symbolism in Hamnet or misunderstand its message. It reflects a current trend.

      Despite its ambitious technical aspects and production quality, Hamnet seldom breathes. It feels engineered more for admiration than genuine experience: a period piece assembled from somber tones, dim visuals, and clear aspirations for awards. The excellence of Shakespeare’s writing is in its ability to make universal themes feel vivid and immediate. This film, too often, comes off as insecure, explicating its themes without fully allowing its love to resonate with audiences.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

      Will Hume