Film Review – Anemone (2025)

      **Anemone, 2025**

      Written and Directed by Ronan Day-Lewis.

      Starring Daniel Day-Lewis, Sean Bean, Samantha Morton, Samuel Bottomley, Safia Oakley-Green, Angus Cooper, and Jack Perrons.

      **SYNOPSIS:**

      The film delves into the intricate and deep relationships among brothers, fathers, and sons. Addressing themes of generational trauma while hinting at broader issues like historical wars and the Troubles, Ronan Day-Lewis' *Anemone* aspires to convey something meaningful and grand. However, it often feels tiresome, relying on several clichés related to the human condition focused on family dynamics, exploring what is inherited, for better or worse, at a languid pace. A few late artistic touches (one aspect reminiscent of the frogs falling from the sky in *Magnolia*) don’t help disguise the film’s lack of substance.

      One positive is that most of the lengthy monologues reflecting on traumatic experiences are delivered by Daniel Day-Lewis, one of the finest actors ever, who here generously supports his son. Despite the film's muddled, uneventful, and predictable nature (once the plot becomes clear, the conclusion is expected, leaving only repetitive confessions to endure), it’s a privilege to see Daniel Day-Lewis emerge from retirement for this role. Even if the monologues are overly elaborate and extend a simplistic story beyond two hours unnecessarily, watching him perform them is a true delight (notably, one features a priest, laxatives, and past trauma, which is both outrageous and could worth the ticket price by itself).

      That’s just part of the internal turmoil Ray Stoker wrestles with, leading him to leave his pregnant partner Nessa (Samantha Morton) and seclude himself in a woodland cottage. While the film observes Ray's daily life, blending efficiency with messiness, it alternates to his son Brian (Samuel Bottomley, who bears a striking resemblance to Barry Keoghan, especially in food scenes), now a young adult caught in a cycle of violence without having met his father. Brian’s uncle Jem (Sean Bean), who took on the role of Nessa's partner and became Brian's guardian, believes it's time to confront Ray and address past issues, hoping that if Ray finds peace, it could facilitate healing for Brian.

      This reasoning is both sensible and a long shot. There might be a more compelling story about a father and son reconnecting to heal, but *Anemone* (the title refers to a flower Ray cultivates, much like his father did despite a fraught and abusive relationship) focuses more on reconciling brothers and features a moody, jolting score by Bobby Krlic. A significant portion consists of reverse shots of Jem listening to Ray reveal painful experiences, be it childhood trauma, war horrors, or resentment about his brother being the favored child.

      While the performances cannot be disputed (Sean Bean adopts a more understated role, relying on body language and silent expressions of empathy), the film lacks cinematic flair and depends heavily on character tropes, which ultimately exhausts the audience due to amateurish writing. Daniel Day-Lewis consistently showcases his commitment, moving his body and making subtle acting choices alongside his intense presence. However, even the finest actors can’t carry a narrative alone.

      The issue with *Anemone* isn’t just the slow stretches (whether it’s scenes of running on the beach or an unnecessary deep dive into Ray’s life), complemented by beautiful cinematography from Ben Fordesman, but it’s also that Ronan Day-Lewis indulges too much in the more engaging scenes. Some of these scenes drag on to the point where a viewer could zone out for a full minute without missing anything. Additionally, much of what’s meant to be compelling revolves around characters reflecting on the past, lacking narrative momentum. Viewers find themselves waiting and hoping for Ray to make peace and return home, wanting to see the resolution unfold. It’s unsurprising that even with impressive behind-the-scenes talent and possibly the greatest living actor (simply by being his son), the film can still fall short if the vision feels so familiar, sluggish, and unsatisfying.

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

      Robert Kojder