Powerful ‘Anemone’ Highlights This Legend’s Startling Return

Ronan Day-Lewis’ “Anemone” is a directorial debut that touts a return to film acting by star Daniel Day-Lewis.

It could have potentially been an unwise, self-indulgent father/son collaboration.

After all, when your dad is considered one of the greatest living film actors of all time and famously stated his last filmed performance was in 2017 (in no less than a Paul Thomas Anderson film), the danger is that this film won’t measure up to impossible expectations.

Despite a few bumps, “Anemone” emerges as a poetic, intense and visually astonishing film. Both father and son Day-Lewis have something to take pride in this Christmas.

We meet Jem Stoker (Sean Bean), who is struggling with the actions of Brian, his troubled teenage son (Samuel Bottomley) and tries to calm his shell-shocked wife (Samantha Morton). We initially don’t know what Brian did, only that it’s serious enough that Jem takes off on a journey into the woods to find the one person whom Brian could talk to: Jem’s estranged father, Ray (Daniel Day-Lewis).

Ray is living off the grid and can barely contain how caustic and ferocious he is.

For the first 20 minutes, there’s no dialogue. When the conversation finally arrives, there’s initially a lot of talk about fecal matter, an easy way to generate shock. As the story progresses, generally as a two-hander, it emerges as a profane take on “Waiting for Godot.”

Day-Lewis’ performance is controlled, devoid of his habit for grandstanding but riveting as ever. What Day-Lewis does here is closer in tone to the work in his best vehicle, “In the Name of the Father” (1993) and not the grandstanding tendencies of his Oscar vehicles, “There Will Be Blood” (2007) and “Gangs of New York” (2002).

Bean matches him scene for scene and more than holds his own. The two make every word and gesture count.

“Anemone” explores how catharsis can manifest and if it’s even possible after so many years of lost time and steady animosity. Heavy topics arise, like the Irish Republican Army and military actions against them, but the focus overall is on the impact of choice.

While the story pauses for some tough monologues and arresting visions, it never feels like easy melodrama or anything remotely formulaic.

Many have noted the wild occurrence that takes place in the third act – the sequence will divide some, but I found it a bold touch the film earns. I won’t spoil it, but will say this – because the film is exploring family tensions and struggles in a relatable and probing fashion, the decision to include a mythic disruption feels in line with everything else here.

This is Ronan Day-Lewis’ stunning directorial debut. I hope his film career is long and steady, as this is one of the best films of 2025. It’s also one of my favorite films that Day-Lewis has starred in.

Perhaps that means his announced retirement from acting is belated or maybe this is now his final film. If the latter is the case, then this is one hell of a great performance to leave us with.

Four Stars