Hamnet (2025)

After losing their son Hamnet to plague, Agnes and William Shakespeare grapple with grief in 16th-century England. A healer, Agnes must find strength to care for her surviving children while processing her devastating loss.

directed by: Chloé Zhao

written by: Chloé Zhao, Maggie O’Farrell

starring: Jessie Buckley, Paul Mescal, Zac Wishart…

It’s a rare occasion when a movie makes me cry. And I don’t just mean shed a tear or get my eyes wet either, I mean ugly cry. In public. However, Hamnet achieved this by being one of the most emotionally exercising movies I’ve seen since Inside Out 2 (2024), and that’s really saying something.

From the beginning to the end, the use of nature, and specifically how nature was shot was something truly to behold. The main focus is on forest scenery, but the way that the greens and browns from the trees complimented the storytelling, camera movement and dialogue was stunning. I’ve not personally seen any other of Chloé Zhao’s movies to this date, but if all her other films are as nature focused and are shot as impressively as this one, then it won’t be long before I can’t say that anymore.

standing in forest

The acting was definitely another highlight of this movie for me. The way that almost all actors expressed their emotions in response to the multitude of heart-twisting events that ensued was magnificent. From the mains to the supporting actors, all of them contributed to make this movie the emotional powerhouse that it was. However, I’d be remised if I didn’t take the time and energy to speak on Jessie Buckley and Paul Mescal’s acting in specific.

Paul Mescal did a dynamite portraying Bill Shakespeare as a work-driven, yet very engaged father. This was highlighted first during a scene where he was up late at night, drunk and in dire straights that he believed that he had lost his ability to write. Due to the camera being in a fixed position, all of the focus was on him and boy did the man deliver. Throughout the rest of the film he was pretty much MIA, despite the fact that his only son had just passed away out of completely nowhere. Personally, I would like to have had a bit more focus his grieving journey, because his story post-loss of son to me felt a bit confusing at times.

reaching out scene

And Jessie Buckley… woi. Hands down, in my opinion, she delivered the best female performance that I’ve seen in a movie all year. From the births of her children, to the death of her son, she dominated this film like I’ve not many times seen done before. And mind you, those that know me know that I’ve watched a lot of movies. We felt her pain, he felt (if only a fraction of) her loss, we felt her confusion during the play, and that end scene, the one with the outstretched arms, that’s what did me dirty. That’s what broke me. Chloé Zhao set chucked up a game winner by having created this film, and Jessie Buckley dunked it home like LBJ himself. 

Although perhaps potentially difficult to watch a second time, this is a film that I have been recommending to every single prone-to-tears film lover that I’ve seen since having watched it. It’s a home run of a film no doubt, and I greatly anticipate what Chloé Zhao has planned to make next.