The news that Daniel Day-Lewis had come out of retirement to co-write and star in a film directed by his son, Ronan Day-Lewis, immediately caught my attention. Before seeing the film, I attended Daniel’s Screen Talk at the London Film Festival, hosted by Mark Kermode. At one point, Daniel asked if he could tell a story, to which Kermode replied, “You’re Daniel fucking Day-Lewis — you can do whatever you like.” It was a moment that perfectly captured the reverence surrounding this legendary actor. Despite his status as cinematic royalty, hearing him reflect on his filmography and career revealed a deep humility and an unwavering devotion to his craft. In the second half of the talk, Ronan joined his father on stage, and their thoughtful discussion about the film only heightened my anticipation to finally see it.
Set against a backdrop of guilt and redemption, Anemone (2025) follows Ray (Daniel Day-Lewis), a reclusive former British paramilitary living in self-imposed isolation after a haunting past. When his brother Jem (Sean Bean) seeks him out, urging him to return home to help his struggling adopted son, old wounds resurface. As the brothers confront their fractured history, Ray is forced to face the devastating truth about a war crime that drove him into exile- a revelation that reshapes both their lives.
Unsurprisingly, what truly elevates Anemone is its remarkable cast. The film brings together three of Britain’s acting greats- Daniel Day-Lewis, Sean Bean, and Samantha Morton. Each actor delivering performances rich in depth and restraint. At its core, the story revolves around Bean’s character urging Day-Lewis to return home and reconnect with his son, and the two actors bring an extraordinary emotional weight to their scenes. Though the film is light on action, the dialogue is so gripping, and so masterfully performed, that it never loses momentum. The frequent use of close-ups enhances this intimacy, allowing the audience to feel as though they are being entrusted with the characters’ buried secrets.
Samantha Morton imbues the film with a quiet, aching vulnerability, portraying a mother desperate to reach her damaged son. Meanwhile, Samuel Bottomley, as Brian, is a revelation. He brings a delicate fragility that binds the story together, matching his esteemed co-stars with an emotional truth that feels both raw and genuine. Despite sharing the screen with acting legends, Bottomley never fades into the background- he stands as their equal.
The cinematography in Anemone is nothing short of masterful. Bathed in rich, natural greens, the film unfolds in and around a secluded cabin in the woods which is a setting often reserved for horror, though here the true terror lies in the ghosts of the past. The visual storytelling leans heavily on pathetic fallacy and the sublime, using the forces of nature to mirror the characters’ inner turmoil. The haunting whistle of the wind outside the cabin, the pounding of hail against the windows, and the flashes of lightning all heighten the film’s tension and emotional weight.
Each frame feels meticulously composed. The outdoor sequences, in particular, are breath-taking and are painterly in their use of light and texture. One standout moment sees Bean and Day-Lewis wandering through an abandoned funfair, the flickering neon of the rides illuminating the emptiness around them. It’s a strikingly beautiful image, and a poignant metaphor for Ray’s tentative re-entry into the world he left behind.
The screenplay, co-written by Daniel Day-Lewis and his son Ronan Day-Lewis, is remarkable. It strikes a delicate balance between profound emotional weight and moments of understated humour. Scenes such as Day-Lewis and Sean Bean dancing together, or scoffing blackberries until Day-Lewis’s grey moustache turns a faint shade of purple, bring a warmth and humanity to the film’s sombre themes. Even a moment involving a discussion about faeces which is a subject that would typically play for laughs, is rendered deeply affecting and unsettling. It’s a testament to the Day-Lewis family’s writing that they can weave levity and sorrow so seamlessly, crafting dialogue that feels both authentic and emotionally charged.
The only aspect of the film I found challenging to connect with was its occasional use of surrealist imagery. As an artist, Ronan Day-Lewis clearly brings a strong visual sensibility to his direction which is evident from the film’s striking opening shot of a drawing that immediately sets the tone. However, one particular moment involving a surreal, animal-like figure felt somewhat disjointed and difficult to interpret. Perhaps there’s a deeper symbolic meaning I missed, but for me, it momentarily disrupted the otherwise cohesive visual language of the film.
Overall, Anemone marks a remarkably assured directorial debut for Ronan Day-Lewis, and I am eager to see what he creates next. The film is also a triumph for Daniel Day-Lewis and the entire cast, delivering performances that make his return from retirement entirely justified.
Megan Hilborne (Instagram: meghillbilly) is a freelance writer and film critic based in Portsmouth. She graduated with a degree in Film in 2020 and has continued her study of the medium in her day-to-day life. She takes particular interest in indie, horror, feminist and queer cinema.
