For nearly a decade, Daniel Day-Lewis remained a phantom of the screen, a legend quietly withdrawn. Now, he’s back in “Anemone,” a film that marks not only his return to acting but also the striking feature film debut of his son, Ronan Day-Lewis.
The film delves into the complex, often fractured bonds of family – the silent tensions between fathers and sons, the enduring connection between brothers. It’s a story that clearly resonated with Day-Lewis Sr., prompting his return to the craft, though he maintains he never truly left it behind.
“Anemone” opens with haunting childhood drawings depicting the Troubles in Northern Ireland, immediately establishing Ronan Day-Lewis’s confident directorial style and his masterful use of music. The film introduces Ray and Jem, played by Day-Lewis and Sean Bean, estranged brothers haunted by their shared past serving in the British Army.
Twenty years prior, Ray retreated into the wilderness, building a solitary life off-grid. Now, Bean’s Jem embarks on a journey to find him, hoping to bring Ray back to his former life, to his ex-partner Nessa, and to his troubled son, Brian – a role Ray abandoned long ago.
Remarkably, the first thirty minutes unfold almost entirely without dialogue. This isn’t a void, but a deliberate choice, allowing the relationships and the stark beauty of the setting to breathe. It’s a testament to Day-Lewis’s enduring power as an actor; he reclaims the screen with a subtle shift of his grip on an axe, conveying a wealth of emotion without uttering a single word.
Bean, too, delivers a compelling performance as the more outwardly expressive brother, finding solace in faith. Their dynamic feels utterly authentic, a believable portrayal of siblings grappling with a tangled history and suppressed emotions as Jem attempts to bridge the gap and bring Ray home.
The script, co-written by father and son, occasionally falters, with dialogue that can feel uneven. Moments of genuine humor and poignant truth – like a frank conversation about Ray’s discarded underwear – are juxtaposed with jarringly dark anecdotes, pushing the boundaries of taste and potentially alienating viewers.
One particularly graphic scene, detailing a deliberately shocking act, proved divisive at a recent film festival screening. While intended as a display of Day-Lewis’s willingness to push boundaries, it risks overshadowing the film’s more subtle strengths.
Samantha Morton and Samuel Bottomley, as Nessa and Brian, navigate the quieter currents of the story, their patience eventually rewarded with a raw, emotionally charged confrontation. Brian’s outburst – a visceral expression of resentment towards his absent father – is a standout moment of the film.
“Anemone” is undeniably ambitious and boasts exceptional performances, but its 126-minute runtime feels stretched. Ronan Day-Lewis’s visual metaphors, while often striking, occasionally veer into the bizarre, bordering on the unintentionally comical.
Despite its flaws, the film remains a compelling and thought-provoking experience. It’s a promising debut for Ronan Day-Lewis and a captivating, if unconventional, return for his legendary father. It’s a film that demands patience, but offers a unique and ultimately rewarding cinematic journey.
Ultimately, “Anemone” is an intriguing exploration of fractured family ties and the enduring weight of the past – a creative partnership that leaves a lasting impression, even with its occasional missteps.
