It's common for newcomers in filmmaking to face intense evaluation, almost like their work is being assessed as if it were a graduate student’s thesis defense. While this scrutiny can be a valuable test to see if someone has what it takes, it’s also important to remember that a first-time filmmaker likely hasn’t tackled anything quite like this before and there will inevitably be a learning process involved. This is the situation surrounding Ronan Day-Lewis's debut feature, an ambitious project—though not without its imperfections—that reunites him with his father, three-time Oscar winner Daniel Day-Lewis, who has returned to acting after eight years. Despite some areas that could have been handled better, it’s still a remarkable first effort from the new director, and one that hopefully suggests a bright future ahead. “Anemone” is hard to define, but I see it as an intensely personal drama composed of several anecdotal stories exploring the complexities of relationships between brothers and fathers and sons. This includes the experiences of siblings Ray and Jem Stoker (Day-Lewis, Sean Bean), along with their son/stepson, Brian (Samuel Bottomley), and Brian’s mother, Nessa (Samantha Morton). These accounts deal with various incidents involving personal trauma and the process of forgiveness—or lack thereof—stemming from military service, family dynamics, and interactions with authority figures who perhaps shouldn't have been held in such high regard. Through these revelations, the film touches on themes like toxic masculinity, mental health concerns (particularly PTSD), confronting one’s inner struggles, and societal expectations about behavior. Some viewers have criticized the pacing as slow and deliberate, but I found it effective, feeling more like listening to sincere and heartfelt storytelling presented to a receptive audience. The film is also enhanced by striking cinematography and an emotive musical score that creates a fitting visual and auditory experience. There are excellent performances from Day-Lewis in what amounts to a triumphant return to acting—demonstrating he hasn’t lost his touch since his last appearance—as well as strong supporting work from Bean, Bottomley, and especially Morton. However, the production does have some issues with its attempts at symbolism and surrealism, occasional shifts in the narrative, and scenes that could have benefited from tighter editing. Nevertheless, considering this is Day-Lewis’s first time directing, I prefer he took risks experimenting, even if not every attempt succeeds. “Anemone” isn't a flawless film, but it would be unfortunate to harshly criticize it for its shortcomings. There’s already enough negativity in the world; we shouldn’t add to it by being overly critical of a promising filmmaker at a time when the industry needs fresh and innovative talent.

Source on TMDB