Goodbye June Review: Kate Winslet's Directorial Debut is a Thoughtful Yet Flawed Attempt

      If you’re reading the headline of this review and are surprised to learn that Oscar-winning actress Kate Winslet not only directed a film but that it is being released now and will be available for streaming on Netflix in two weeks, you probably aren’t alone. Normally, an actor of Winslet’s caliber making their directorial debut would warrant significant attention and a grand premiere at a major film festival, possibly Sundance or TIFF—or, if you're Scarlett Johansson, Harris Dickinson, or Kristen Stewart earlier this year, even at Cannes. At the very least, even a lesser-known actor can expect a premiere at Tribeca before their film is given a wider release a couple of years later.

      It might have been a sign that Winslet’s debut, Goodbye June, chose to bypass the typical awards buzz associated with a festival premiere and instead was quietly released by Netflix amidst a crowded field of contenders gaining nominations. This unceremonious rollout is unfortunate for a film that is fairly forgettable, but ultimately, Goodbye June’s biggest flaw is that it is easily forgettable soon after the credits roll. Set entirely within a hospital, primarily in the room of family matriarch June (Helen Mirren), the story revolves around her four adult children (Winslet, Toni Collette, Andrea Riseborough, Johnny Flynn) and her grumpy husband (Timothy Spall) grappling with the swift return of June’s cancer, with doctors suggesting she likely won’t make it to Christmas.

      There are impactful concepts presented in the film, such as a Christmas backdrop that should be filled with joy yet is instead overshadowed by a gloomy grey atmosphere within the hospital and the subdued cinematography by Alwin H. Küchler. Winslet delves into how this family deals with the harsh truth that sometimes pursuing treatment is no longer an option—all that remains is to ensure a loved one is comfortable in the limited time they have left. This bitter honesty, which we often avoid in narratives that seek to provide an escape or a glimmer of hope, is present here; however, Goodbye June fails to explore this material with the depth seen in films like Tamara Jenkins’ excellent The Savages.

      The script, penned by Joe Anders (Winslet’s son with ex-husband Sam Mendes) when he was only 19, cannot be easily labeled as a vanity project, yet it suffers greatly from a superficial treatment of its characters and themes. Inspired by the family's experience with Anders’ grandmother's passing, Winslet’s mother, this deep personal story doesn’t translate into a film that feels like anything more than a collection of clichés and tropes. The siblings are portrayed as one-dimensional stereotypes: Johnny Flynn plays the sensitive younger brother prone to panic attacks; Andrea Riseborough is the angry one; Toni Collette is the free-spirited black sheep who has been out of touch; and Kate Winslet is the one trying to maintain stability, struggling more under the pressure each day. Any writer could have crafted this narrative, and it's clear where these character dynamics are headed, as each scene unfolds predictably, leading to an unavoidable conclusion.

      Despite a strong cast of renowned actors, the standout performance comes from the lesser-known Fisayo Akinade, who plays one of the hospital nurses. In the film’s most engaging scene, Akinade’s character shares a poignant moment with Flynn, reflecting on how his mother passed away when he was young and how he wasn't there for her. He expresses a wish that he could have foreseen her passing to spend those final days with her. “I make it my duty to make sure people get good goodbyes,” he states. This moment of genuine emotion is notably absent in the rest of the film.

      Goodbye June is set to open in select theaters on December 12 before becoming available for streaming on Netflix on December 24.