Anemone (2025)

A beautiful & brilliant film/return for Day-Lewis, despite some missteps - Anemone review by Timmy B

After Phantom Thread, Daniel Day-Lewis released a statement saying "he would no longer be working as an actor" (whilst many media outlets called it a retirement, Day-Lewis strongly refuted this, simply saying he was focusing on new challenges.) And for many years, apart from the occasional paparazzi picture, one of the greatest living actors of all time was as quiet as a church mouse. But then, an aforementioned paparazzi shot pictured him on a film set, igniting a blaze of excitement as to what he was up to. Shortly afterwards, it was announced he was returning to acting, starring in Anemone, a film co-written by him and directed by his son Ronan, a painter & filmmaker. And boy was it worth the wait.

Jem Stoker is a devoutly religious ex-special forces soldier living in North England in the 1990's. He is in a relationship with Nessa, the ex-wife of his brother Ray, and has adopted her son Brian, whom Ray abandoned before he was born. Ray has subsequently gone to live off-grid in the countryside, unable to exist in normal life, mainly due to horrific PTSD from his own military service during the Troubles. This rejection has had a catastrophic effect on Brian, who is in a terrible downward spiral, leading Jem to go and bring Ray back to civilization to support his son.

Despite the relatively large budget for this type of film, one of the best parts is that it is emphatically a small, intimate piece, which is unafraid to have long silences. The calibre of actors is such that we know exactly what they are thinking without either of them needing to say a word, the quietness filled with anger, tension & sadness. Day-Lewis, whose 1st Oscar was for a performance where he mainly communicated through his body language, is a master of this type of acting. And in Sean Bean, we have a veteran actor who can say so much with a weary sigh & furrowed brow.

The other thing most people will take from this film is it's unique look. Having a director who is a classically-trained painter with his own distinct style and the budget to let his imagination run free has produced stunningly beautiful as well as highly idiosyncratic imagery, which is both haunting & powerful. The appearance of a giant white being, seen in Ray's PTSD visions, is the best example of this.

However, there are some very strange missteps, which are all the more glaring considering the calibre of talent involved. The biggest of these is when Ray reveals the horrendous incident he was involved in on patrol. And what should have been not only a heartbreaking revelation, but also a showcase in portraying trauma, feels weirdly flat & unimpactful. Day-Lewis pours his heart out, Ray's pain finally able to be heard by someone who not only understands but is also his own flesh and blood, but it can't hold a candle to his monologue in Gangs of New York.

Weirdly, the look of Ray, as well as his mannerisms, seems to be in many ways a facsimile of Daniel Plainview. Now, whilst that would be for many actors phenomenal praise, Day-Lewis's talent is such that I was slightly disappointed with this recycling.

But despite those slight issues, I loved this film. It's look, overall impact & mise-en-scene are all flawless. The colour palette/tone were a feast for my eyes and the 2 hours I spent in this world were incredible. Special mention must go to Samantha Morton as Nessa, a woman who has lost so much in her life but still tries to do what's right for her family. It is only a shame we don't see more of her opposite Day-Lewis.

Day-Lewis has hinted that he may continue acting, after his profoundly happy experience making this. Whatever he does, it is so wonderful for him to be back, creating wonderful characters and reminding us just why he is one of our greatest actors. Welcome back Sir Daniel, we have missed you