Hamlet is considered the most famous play in the world due to its enduring influence and the vast number of performances it has inspired. I have seen at least two film adaptations of Hamlet and seen the stage version at the local Guthrie Theatre a few years ago. Therefore, when I discovered a film that explores the inspiration behind the play, my curiosity was piqued, especially with Chloé Zhao directing. What makes this film unique is its focus not on Shakespeare himself, but rather on his wife Agnes, a name that, like Hamlet and Hamnet, was interchangeable with ‘Anne’ during the Elizabethan era.

The story is based on Maggie O’Farrell’s novel of the same name, which imagines the marital life of Will and Agnes and the heartbreaking loss of their son that changes their lives forever. Besides having Zhao at the helm, what the film has going for it is the cast (thanks to Nina Gold, natch), especially Jessie Buckley as Agnes. The Irish actress is nothing short of magnificent; it wouldn’t be hyperbolic to call it the performance of the year. I’ve seen her in a half dozen films, and she’s always phenomenal, but her portrayal of Agnes is on another level.

Zhao casts another Irish thespian, Paul Mescal, to portray a quintessentially English icon. Buckley and Mescal share a feverish chemistry from the very beginning… While serving as a tutor, Will frequently watches Agnes as she plays with her cherished pet falcon, a bird of prey that she keeps perched on her arm. This bird represents her wild, untamed spirit and her profound bond with nature, which captivates Will. The villagers perceive her as a sort of ‘forest witch’ due to her late mother’s legacy as a natural healer, and there’s an otherworldly quality about her that Buckley manages to portray. There’s something mesmerizing about Agnes, and Buckley authentically portrays her shift from a carefree, rural lifestyle to the more settled role of a wife and mother, all the while retaining her naturally fierce spirit.

Their domestic life is generally happy, though Will frequently travels to London for work with Agnes’ encouragement. This undoubtedly requires a sacrifice from her, as she must handle the expanding household independently. Their three children, Susanna and the twins Judith and Hamnet, bring vibrancy to the home; additionally, Will’s mother, Mary (the always excellent Emily Watson), plays a crucial role in the family. Mary is a consistent figure who assists Agnes through the challenges of childbirth and the heartbreaking loss of Hamnet.

Zhao’s depiction of grief is so profoundly moving. Agnes is so emotionally raw and vulnerable that it can be almost painful to watch at times; her heart-wrenching scream of despair cuts deep into my soul. I’m glad I had tissues handy, as I find myself nearly sobbing a few times. Seeing this film brought back memories of the sorrow I felt when I lost my mom. Grief is the great equalizer; it levels the playing field since no one can avoid the experience of mourning. Agnes and Will handle their grief in different ways, but it’s obvious that both are completely devastated by Hamnet’s death.

If you’re hoping to see more about Shakespeare’s journey in crafting his most renowned play, this isn’t that film. However, we do get a glimpse of Will’s early life, living with an abusive father who doesn’t think much of him. We also get to hear Will utter his most famous line, ‘to be or not to be.’ Mescal once again shows his fine dramatic chops; he embodies both masculinity and depth simultaneously.

Joe Alwyn gives a quiet but memorable performance as Agnes’ kind and protective brother Bartholome. Young actor Jacobi Jupe is terrific in the role of Hamlet. It’s interesting to point out that Jacobi’s brother, Noah Jupe, portrays Prince Hamlet in a stage production. This casting choice is fascinating and works wonderfully since they are essentially portraying the same character in different forms.

On a technical front, Hamnet is exceptional. The breathtaking cinematography and camera work by Łukasz Żal, the stunning production design by Fiona Crombie, and the ethereal score by Max Richter are all top-notch. Richter’s incorporation of women’s voices in the choral piece is both beautiful, with a haunting quality, conjuring a sense of the supernatural and highlighting that Hamlet stands as one of the most renowned ghost tales in history.

In The Rider and Nomadland, Zhao has shown a deep empathy for those on the fringes of society, along with a profound respect for both nature and humanity. These traits shine through in Hamnet, which feels surprisingly intimate, even though the narrative unfolds four centuries ago. Although her foray into the comic-book film Eternals didn’t impress critics (myself included), I still consider her one of the finest filmmakers working today. Her knack for tackling diverse genres is truly remarkable, and Hamnet is her strongest work yet.

As someone who loves period dramas, I’m impressed by Zhao’s talent for world-building as she vividly portrays the domestic life of the English Renaissance, transporting me to 16th-century England. At the same time, I appreciate that Zhao chooses plainspoken dialogue, saving the Shakespearean language for the stage adaptation of Hamlet in the third act. After witnessing Agnes experience Hamlet for the first time and realizing its familial significance, I’ll never view the play in the same light again.

I’m glad I had the chance to see Hamnet on the big screen at TCFF. It’s my top pick from the festival and the one that has lingered in my thoughts for weeks. There are many contenders this year, but it’s still the one I’ll be cheering for during this awards season. As for Buckley, this film belongs to her, and her performance is the one to beat this year.

Have you seen HAMNET? I’d love to hear what you think!