The film follows Jem (Sean Bean) and Ray (Daniel Day-Lewis), brothers, who, after many years apart, reconnect in Ray’s isolated cabin in the middle of the deep English forests. Simultaneously, we follow Brian (Samuel Bottomley), who is Jem’s adopted son and Ray’s biological son.
Over the course of the film, Ronan Day-Lewis explores trauma, masculinity, and the bonds between brothers as well as between fathers and sons. This is in part due to the incredibly emotionally intimate co-writing between each Day-Lewis; a script that feels a little too real at times.
Unsurprisingly, the standout performance comes from the leading man himself, Daniel Day-Lewis. His calculated coldness and near-perfect line delivery elevate this film to new heights. He delivers two monologues that had me, along with the fellow press at the screening, unsure whether to laugh or break down into tears. Daniel Day-Lewis precisely intertwines varying tones and remains as impressive as his last outing, “The Phantom Thread” in 2017.
Daniel Day-Lewis, paired with Bean’s subtle but steady role, pays off well in the moments of emotional intensity. The two play off each other’s characters so well that it almost feels as if we are watching documentary footage — further echoing how incredibly human the film feels, a quality that is necessary in the context of contemporary cinema but is becoming increasingly scarce.
Acting aside, this film excels in both its cinematography and score; the drawn-out shot choices and meditative instrumentals create a unique yet familiar melancholic tone. This, in part, is also due to the editing, specifically the color grading. The scenes in the forest, at Ray’s cabin, and later in the film by the English seaside, all present some of the deepest and richest colors I have seen in recent years at the cinema.
Even after eight years away from the silver screen, Day-Lewis reminds viewers why he is one of the greats: an undeniable on-screen presence and a standout performance of the year.
While that point is definitely not understated by critics, this film remains one that is a bit lost in the creative process. The direction, while stellar at times, can definitely be predictable and does show Ronan Day-Lewis’s age and inexperience. Nonetheless, “Anemone” remains an intriguing late 2025 film, as well as a showcase for brilliant English acting.
This article was edited by Alfie Pritchard, Jessica Ackerman, and Walker Whalen
Copy editing done by Sabine Kanter-Huchting, Arin Burrell, Paige Caro, Andrew Kummeth, and Ryan Sieve.