Anemone will likely be known primarily as the comeback film for Daniel Day-Lewis after an 8-year self-imposed ‘retirement’ after he filmed Phantom Thread with PTA. Notably, this film is a family affair as it’s directed by Daniel’s son, Ronan Day-Lewis, and the two also collaborated on the screenplay. 

The ancient Greek term “anemone” means “windflower,” which closes up at night, representing both fragility and the brevity of life. This term serves as a metaphor for someone who is withdrawn, much like Daniel’s character Ray, who has been living a reclusive existence deep in the Northern England woods. Ray’s estranged brother Jem (Sean Bean) comes to visit his hermit sibling, with whom he has a complex history. The purpose of his visit is suggested early on, but the script gradually reveals more context as the story unfolds.

This is Ronan’s first venture as a director, and I think it’s a smart move to opt for a more intimate cast and select a narrative that resonates on a personal level. The story revolves around the intricate family ties between brothers, fathers, and sons, while also delving into how compounded trauma (from abuse, abandonment, war) can affect individuals and be passed down through generations. Interestingly, in 2005, his mom, Rebecca Miller, directed her husband in a movie that dealt with the complex relationship between father and daughter in The Ballad of Jack and Rose.

Let’s highlight the positives first: Ronan truly capitalizes on his father’s immense acting prowess in this film, while also skillfully showcasing the talented ensemble cast, which includes Samantha Morton and Samuel Bottomley. The moment when Ray shares a disturbing experience with a former priest who abused him during his childhood is both impactful and surprisingly funny, steering clear of the typical flashback tropes. Daniel’s masterclass performance reminds us that he hasn’t lost his mastery and passion for his craft.

Bean is no slouch either as Ray’s compassionate brother, perhaps the only person who truly understands him and sees him for who he is. A man of deep faith, he’s shown praying before his trip to see Ray; he never thinks of his brother as a lost cause. Despite their estrangement, a deep trust and affection still exist between them.

Ronan is an artist who has ventured into filmmaking, creating music videos and short films that influence his current work. The vignettes and surreal elements present here resemble an atmospheric experimental piece rather than an effective narrative choice. The muted color palette and cinematography, captured by DP Ben Fordesman, exude a distinctly moody and somewhat grim atmosphere, while Bobby Krlic’s score amplifies the sense of dread and the enigmatic dynamics of the characters’ interactions.

The Biblical-like hailstorm featuring golf-ball-sized pellets towards the end certainly leaves a lasting impression. The storm feels like a divine intervention in many ways, arriving at a crucial time to serve as a forceful wake-up call for Ray to confront his past choices. While the film may seem bleak, I appreciate that it’s not nihilistic; in fact, it ends on a hopeful note.

The biggest hurdle with Anemone is its sluggish pacing, which stretches the 2-hour runtime to feel like an eternity. At times, it feels over-indulgent and carries an air of arthouse grandiosity that may keep casual viewers away. While the visuals of trees and leaves swaying in the breeze are beautiful, it also comes off as monotonous and repetitive. A more experienced filmmaker would elevate this story with tighter editing and a more coherent narrative, but it’s still worth a watch for Daniel’s magnetic performance. Your enjoyment of Anemone really depends on how much you like the cast and how patient you are with slower movies. 

One thing is for sure, this is a welcome return for Daniel Day-Lewis, a rare gem in terms of his sheer acting talent, but he’s one of the rare actors who’s been directed by both his wife and son. 

ANEMONE is in theaters now

Have you seen ANEMONE? What’s your favorite time-travel movie(s)?