In Northern England, a man embarks on a journey into the woods to reconnect with his estranged hermit brother, with whom he shares a complicated past that was altered by life-changing events decades ago.
When Daniel Day-Lewis announced his retirement from acting in 2017, the news was met with widespread disappointment. Widely regarded as one of the finest actors of his era, his absence left a noticeable void. Now, to the delight of many, Day-Lewis has returned—not merely as an actor, but as co-writer of a new film directed by his son, Ronan Day-Lewis. This latest project tells the story of fractured family ties and long-buried secrets, focusing on two brothers, Ray (played by Day-Lewis) and Jem Stoker (Sean Bean), who have not seen each other for years. When Jem tracks Ray down to his secluded cottage deep in the woods, both men are forced to confront the unresolved wounds of their shared past.
Set in Northern England during the mid-1990s, the film introduces us to Jem (Bean) as he prepares to leave his home, his wife, Nessa (Samantha Morton), and their son, Brian (Samuel Bottomley). Jem departs by motorcycle to a remote wilderness, guided only by cryptic coordinates scribbled on a note. There, he finds Ray, living in self-imposed exile. The brothers’ reunion is fraught with tension, as neither seems ready to break the silence. Over several days, it becomes clear that both men share a history in the British military, having served during the Troubles—a turbulent period marked by conflict between the United Kingdom and Ireland over Northern Ireland.
Gradually, the audience learns that Nessa was once married to Ray, and that Brian is Ray’s biological son. Ray fled civilian life after a disastrous covert mission—one that ended in tragedy—and disappeared without a word, abandoning his family and cutting off all contact. In Ray’s absence, Jem assumed the role of father to Brian, doing his best to create stability with Nessa.
The title, “Anemone,” refers to the flower Ray cultivates on his isolated property. The flower becomes a poignant symbol of loss, renewal, and tragic love, mirroring the film’s exploration of generational trauma and regret. The brothers’ attempts at reconciliation unfold in scenes marked by long silences, sudden bursts of emotion, and moments of both tenderness and violence—drunken dancing, ocean swims, embraces, and bitter fights, all underscoring the volatility of their relationship.
One of the film’s most powerful moments occurs when Ray, overwhelmed by guilt, recounts a secret military mission that went horribly wrong. He describes tracking a bombmaker and his young apprentice, only to witness the devastating aftermath of their failed plot. Day-Lewis dominates these confessional scenes, yet it is Bean’s restrained, haunting reactions that give them their emotional weight. While Day-Lewis once again delivers a performance of remarkable depth, Bean’s portrayal of a man yearning for reconciliation is nothing short of extraordinary.
Meanwhile, Brian, now a soldier himself, has gone missing after a violent incident involving a fellow serviceman. Nessa’s attempt to explain Ray’s abandonment is met with contempt; Brian cannot forgive his father’s absence and labels him a coward. Ultimately, Jem persuades Ray to return home, arguing that only he has the power to reach Brian. After years in isolation, Ray reluctantly agrees to reunite with the family he once left behind.
The narrative does not shy away from darker themes, including childhood trauma and abuse at the hands of a local priest and the brothers’ own father. As the story unfolds, it seems Ray is destined for a life of solitude. Yet, as he and Jem begin to rebuild their relationship, Ray’s desire for connection grows stronger.
While “Anemone” occasionally lingers on introspective moments and risks indulgence, it remains anchored by compelling dialogue and masterful performances. Cinematographer Ben Fordesman employs evocative imagery to capture the film’s shifting moods—oscillating between the weight of past suffering and the hope of personal renewal. Though there are flashes of surrealism, the film is, at its core, a grounded and unflinching study of human vulnerability and the possibility of redemption.
In Theaters Friday, October 3rd
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