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.
Daniel Day-Lewis returns from retirement to partner with his son, Ronan, who directs a script the two co-wrote about Ray Stoker, a British military veteran living in self-imposed exile in Northern England. When his struggling son, Brian (Samuel Bottomley), goes AWOL from the military, Ray’s brother Jem (Sean Bean) sets out to bring Ray back to civilization.
“Anemone” is a beautifully shot story about trauma, brotherhood, and self-renewal, but it is hindered by inept storytelling. There are many extended shots of the English landscape or of Ray or Jem walking that could have been cut down. With a shorter runtime, this movie would feel less frustrating.
Two emotional monologues remind us why Day-Lewis has three Best Actor Oscars. And Bean’s contribution cannot be understated, as the brother reacts to Ray’s revelations. We learn about the two men’s harsh upbringing, why Ray left his family, and how Brian’s behavior now reflects his father’s actions. Day-Lewis and Bean sharing the screen is a miracle. I’d love to see the two partner up again if the former doesn’t decide to go back into his own self-imposed exile after this.
Where “Anemone” thrives is in thematic storytelling. The two leads don’t spend the entire time talking because they’re brothers; they’ve known each other their whole lives – they, as well as we as the audience, understand what is going on in their heads. Where things get confusing are the few moments of magical realism, which, if the rest of the film weren’t so melodramatic, might seem deliberately thought-provoking instead of indulgent.
Ultimately, I can honestly say I was moved, so “Anemone” succeeds as a work of art. But Ronan Day-Lewis has a lot of growing up to do as a filmmaker if he is to succeed without the help of dear old dad.
In Theaters Friday, October 3rd
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