Qwaxw in Ceremony

Hot Docs ’26: Ceremony

***/****
directed by Banchi Hanuse

Hot Docs, the Canadian International Documentary Festival, runs from April 23 to May 3, 2026. Visit the fest’s official site for more details.

by Angelo Muredda Following the encore screening of Banchi Hanuse’s Ceremony at this year’s Hot Docs, an audience member chimed in to remark that as a Palestinian woman who has seen her share of colonial aggression, she was struck by how similar the tools and logics of different settler states are when it comes to treating contested territory as unoccupied and without history, thus perfect for relocation. Perhaps even more striking than that observation–or the moderator’s decision to thank the audience member for her comment but quickly punt to the next one without letting the filmmaker and her cast of Nuxalk creators and activists respond–is Hanuse’s documentation of the myriad ways in which Indigenous people have responded to those familiar efforts to stamp out their civilizations, from keeping the language alive through their own alternative schools to broadcasting their culture on community radio to documenting their own histories and staging ritual performances of their traditions. Winner of the festival’s DGC Special Jury Prize for Canadian Feature Documentary, Ceremony is an evocative, engaging, and refreshingly talking-head and infographic-free film about how the Nuxalk Nation finds hope for resistance and renewal through these deliberate practices in the face of the broader nation-state’s violent, centuries-long effort to fold them into the Canadian colonial project.

The Harlem Park Three now in When a Witness Recants

Hot Docs ’26: When a Witness Recants

**½/****
directed by Dawn Porter

Hot Docs, the Canadian International Documentary Festival, runs from April 23 to May 3, 2026. Visit the fest’s official site for more details.

by Angelo Muredda The moment from their railroading that most seems to haunt Andrew Stewart, Ransom Watkins, and Alfred Chestnut in Dawn Porter’s When a Witness Recants, which picks up with the Harlem Park Three after they’ve been freed from 36 years in prison for a murder they didn’t commit, is when the judge first addressed them, his voice dripping with disdain “like we shouldn’t be breathing,” as Alfred remembers it. Raised with love and affection as Black youth with bright futures in their West Baltimore community, only to be falsely accused and convicted of the murder of local student DeWitt Duckett on the basis of coerced witness statements, the men are struck in their retelling of events by how quickly the legal system rendered them null and void, depriving them of the future they were on track for as teenagers, as men, and eventually as fathers.

Amy Goodman broadcasting from a protest against the Death Penalty in Steal This Story, Please!

Hot Docs ’26: Steal This Story, Please!

**½/****
directed by Carl Deal and Tia Lessin

Hot Docs, the Canadian International Documentary Festival, runs from April 23 to May 3, 2026. Visit the fest’s official site for more details.

by Angelo Muredda The picaresque life of Democracy Now! founder and host Amy Goodman gets the Forrest Gump treatment in Steal This Story, Please!, Carl Deal and Tia Lessin’s polished and accessible documentary profiling the firebrand–still one of the most trusted sources in leftist media–over the course of a nearly forty-year career. By embracing that montage-heavy, stone-skipping approach to a life on the front lines of direct action, they sometimes skirt a deeper exploration of the stories that have animated Goodman’s career. At the same time, the film positions her dogged independent journalism as the conscience of an often conscienceless country while successfully articulating her ethos that “We will not be silent” is the Hippocratic Oath of the press, whose reporting should be a form of public service that supersedes toadying and sucking up to power.

Abd Alkader Habak and Janay Boulos in Birds of War

Hot Docs ’26: Birds of War

***/****
directed by Janay Boulos & Abd Alkader Habak

Hot Docs, the Canadian International Documentary Festival, runs from April 23 to May 3, 2026. Visit the fest’s official site for more details.

by Bill Chambers It’s 2016. Aleppo is under siege. Syrian president Bashar al-Assad has banned journalists to stymie coverage of his atrocities, so BBC reporter Janay Boulos, a London transplant from Lebanon, contacts Syrian videographer Abd Alkader, a.k.a. Habak, for boots-on-the-ground footage. The fomenting Syrian revolution inspired Habak to pick up a camera and document what he was seeing in the early 2010s. Branded an activist, he fled his humble village in Idlib for the ostensible security of Aleppo, which soon came under attack from Russian and Syrian forces. Habak resumed filming. Janay hears a rumour that Aleppo residents are growing food on their rooftops. Habak gets her video proving it, and the BBC posts it on their website. Eventually, Eastern Aleppo is evacuated. Habak returns to Idlib, another war zone. He reaches out to Janay, pitching her ideas for other human interest stories that highlight Syrian resilience.

Black Zombie still featuring a Black man in white drawing circles in chalk on the floor of a dark, cavernous room

Hot Docs ’26: Black Zombie

***/****
directed by Maya Annik Bedward

Hot Docs, the Canadian International Documentary Festival, runs from April 23 to May 3, 2026. Visit the fest’s official site for more details.

by Angelo Muredda Late in Maya Annik Bedward’s Black Zombie, a cross-cultural survey of the zombie in Haitian folklore and horror cinema, a Vodou priest who’s served as an authenticity expert throughout the film derisively summarizes Western imaginations of West African culture as a history of voyeurism. “I hope this isn’t that,” he says of Bedward’s documentary, whose title explicitly subverts Victor Halperin’s 1932 pre-code horror film White Zombie, a foundational colonial narrative of white innocence besieged by the ostensibly monstrous threat of Blackness, and whose intellectual project seeks to dismantle that film’s corrosive source text, William Seabrook’s Haitian travelogue The Magic Island, which exported the zombie and Vodou to the West as figures of exotic superstition. A rigorous if somewhat segmented essay on the colonial violence inherent in the horror genre’s extraction of West African beliefs, Bedward’s work easily clears this admittedly modest bar. Though it will read a bit introductory for historians of the Haitian resistance movement, French colonialism, and genre cinema, it’s nevertheless a formally engaging and provocative piece that effectively re-situates the zombie in the context from which it’s been extracted: the belief among enslaved Haitian plantation workers that death might return their spirits to their ancestral home in Ghana, while further violence at the hands of colonial administrators and their proxies might render them zombies, undead and hopelessly rooted on the colony for the rest of their days.

Larry Fessenden glowering at us in a leather jacket: "Larry stories to tell in the dark"

Trauma or, Monsters All (2026)

***½/****
starring Laëtitia Hollard, Aitana Doyle, Addison Timlin, James Le Gros
written and directed by Larry Fessenden

by Walter Chaw There’s an immediacy to Larry Fessenden’s films, a lack of any intermediary between his characters and the viewer that can be exquisitely uncomfortable. Stories told through peepholes, they can feel like plays performed in a small venue, an intimate encounter ever threatening to spill over into the crowd. Credit his immersive, often suffocating sound design, an expertise demonstrated lately in his radio side project, “Tales from Beyond the Pale.” (I first saw Fessenden’s Habit on VHS, and the audio on its recent 4K upgrade is a revelation.) Credit also, of course, his sober, mature scripts, which deal with childhood, memory, and fear through the prism of fully formed, imperfect characters trapped in the amber of trauma that can’t be exorcised. For Fessenden, horror exists at the place where the visceral intersects with the philosophical–where the meat meets the mind. What happens to one when the other begins to develop fissures? When hairline cracks develop and let the sadness in? Consider the little boy (Erik Per Sullivan) in Fessenden’s masterful Wendigo, who learns one terrible winter that the shadow at the bottom of the stairs sometimes sees you even if you leap quietly, so quietly, across the top, where the light from the entryway paints a white square like a lepidopterist’s frame. Fessenden’s films are all variations on that species of terror, that variety of loneliness: its beginnings and endings and the long half-life in between, where fear metastasizes in unpredictable ways. He is a poet of the hard truth that being by yourself is the essential human condition.

Colman Domingo in Dead Man's Wire/Miles Teller and Elizabeth Olsen in Eternity

TIFF ’25: Dead Man’s Wire + Eternity

DEAD MAN’S WIRE
**/****

starring Bill Skarsgård, Dacre Montgomery, Cary Elwes, Al Pacino
written by Austin Kolodney
directed by Gus Van Sant

ETERNITY
*½/****

starring Miles Teller, Elizabeth Olsen, Callum Turner, Da’Vine Joy Randolph
written by Patrick Cunnae & David Freyne
directed by David Freyne

by Bill Chambers Bill Skarsgård finally butts up against the limits of his versatility as he lamely channels Michael Shannon in Dead Man’s Wire, Gus Van Sant’s first feature since 2018’s Don’t Worry, He Won’t Get Far on Foot. (Most recently, he worked on Ryan Murphy’s “Feud: Capote vs. The Swans”, directing six of its eight episodes.) Both are based on true stories, an enduring kink of Van Sant’s going back to 1995’s To Die For, which riffed on the Pamela Smart case with a satirical bent that hasn’t really resurfaced in his docudramas since. But when, late in the game, Dead Man’s Wire develops something like a comic edge, it feels like Van Sant might be heckling the material out of boredom, if not something more problematic. The film dramatizes the 1977 kidnapping of mortgage broker Dick Hall (Dacre Montgomery) by Skarsgård’s Tony Kiritsis, who tied a 12-gauge shotgun to Dick’s neck and held him hostage for three days at his rathole apartment in Indianapolis. He believed that Dick and his wealthy father, M.L. Hall (Al Pacino), were waiting for him to fall behind on his mortgage payments so they could poach a valuable piece of property he owned, and he demanded the Halls give him $5 million in damages as well as–and this was the sticking point, according to the film–a full-throated apology in exchange for Dick’s life.

The Ugly/The Furious

TIFF ’25: The Ugly + The Furious

THE UGLY
*½/****

starring Park Jeong-min, Kwon Hae-hyo, Han Ji-hyeon, Shin Hyeon-bin
written by Yeon Sang-ho, based on his graphic novel Face
directed by Yeon Sang-ho

火遮眼
**½/****

starring Xie Miao, Joe Taslim, Yang Enyou, Brian Le
written by Frank Hui, Lei Zhilong, Tin Shu Mak, Kwan-Sin Shum, Aidan Parker
directed by Kenji Tanigaki

by Angelo Muredda In his 2007 book Aesthetic Nervousness: Disability and the Crisis of Representation, Ato Quayson suggests that disability “short-circuits” the protocols of representation, throwing into crisis all kinds of formal and thematic properties as a text struggles to account for its disruptiveness. If there’s a prize for the most aesthetic nervousness, or for a text whose nervousness about how to depict disability all but causes it to self-destruct, it ought to go to Train to Busan director Yeon Sang-ho’s dispiriting The Ugly. A slow-burn procedural mystery-thriller about a documentary crew and a son in arrested development getting to the bottom of a historical murder, The Ugly is thrown into a full-blown panic attack by the aesthetic challenge posed by something as simple as depicting its disabled characters moving through the world.

Paula Beers in a red convertible, looking skeptical

TIFF ’25: Miroirs No. 3

Mirrors No. 3
***/****
starring Paula Beer, Barbara Auer, Matthias Brandt, Enno Trebs
written and directed by Christian Petzold

by Angelo Muredda Not content to have already put his stamp on Vertigo with 2014’s postwar noir Phoenix, where an Auschwitz camp survivor and cabaret performer who’s undergone facial reconstruction surgery finds herself remade into the image of her former self by the scoundrel husband who sold her out to the Nazis, Mirrors No. 3 sees Christian Petzold delivering a lower-key riff on Alfred Hitchcock’s masterwork. An uncanny, tragicomic European idyll that improbably takes equal inspiration from Vertigo, Final Destination, Mulholland Drive, and Hansel and Gretel despite largely being set on sun-kissed porches and in open garages, Mirrors No. 3 is a beguiling, singularly strange picture that could only have been made by the simultaneously heady and easygoing German auteur.

Xin in The Sun Rises on Us All, Johnston in Obsession

TIFF ’25: The Sun Rises on Us All + Obsession

日掛中天
***½/****

starring Zhilei Xin, Songwen Zhang, Shaofeng Feng
written by Shangjun Cai, Nianjin Han
directed by Shangjun Cai

OBSESSION
***/****

starring Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless
written and directed by Curry Barker

by Bill Chambers In Shangjun Cai’s masterful The Sun Rises on Us All, Meiyun (Zhilei Xin, deservedly feted at the recent Venice Film Festival) is a wannabe influencer who sells dropship clothing out of a crappy little outlet in a Guangzhou mall. Newly pregnant by her married boyfriend Qifeng (Shaofeng Feng), she’s a woman in her late thirties with the lifestyle of someone considerably younger, suggesting an interruption in the past that will soon be confirmed. While at the hospital for a prenatal checkup, Meiyun spots a man she recognizes, Baoshu (Songwen Zhang), who’s recovering from gastrointestinal surgery after being diagnosed with stage 4 stomach cancer. There is palpable tension between them, but Meiyun cares about him, and as he needs somewhere to convalesce, she makes room for his dour ass in her cramped one-bedroom. He’s such an unpleasant guest that it’s easy to feel sorry for Meiyun, whose romance with Qifeng is complicated enough. Indeed, you could go so far as to call Baoshu and Meiyun’s on-screen dynamic S&M, although it’s not always him doing the S and her doing the M. (When Baoshu goes on a mini-hunger strike, for instance, Meiyun literally slaps sense into him.) But as the details of their shared history come to light, our sympathies begin to shift–or, more to the point, even out.

Bald white Emma Stone leashed around the neck and wrists

Telluride ’25: Bugonia

**½/****
starring Emma Stone, Jesse Plemons, Aidan Delbis, Alicia Silverstone
screenplay by Will Tracy, based on the screenplay by Jang Joon-hwan
directed by Yorgos Lanthimos

by Walter Chaw I don’t know what it’s like to come to Yorgos Lanthimos’s Bugonia fresh, given that it’s a remake of Jang Joon-hwan’s gonzo, lacerating Save the Green Planet!, a film about wild conspiracy theories and the people who drink deep from them that seemed considerably more novel in 2003 than it does in 2025. Now, some pathetic incel white supremacist dufus doing a terrorism is a weekly–soon to be daily–occurrence, making Bugonia a lot like Ari Aster’s Eddington: too late to be a warning and too directionless to offer solutions. What is it, then? Well, it’s sort of like Idiocracy, if Idiocracy came out today instead of 20 years ago, when it was a terrifying prophecy of unusual prescience. I guess the proper term for this exercise would be “past its sell-by date,” but what I think it is, mostly, is a very fine vehicle for Jessie Plemons and possibly a test of how close we are to Lanthimos and Emma Stone finally pushing their luck a little too far and launching themselves into the land of the terminally overexposed. I love that they continue to inspire each other and stuff, though their collaboration is starting to feel like a party where everyone else has left and I have to work in the morning, you guys, please.

Tall Margaret Qualley holding flowers and short Ethan Hawke holding court in Blue Moon

TIFF ’25: Blue Moon

***½/****
starring Ethan Hawke, Margaret Qualley, Bobby Cannavale, Andrew Scott
written by Robert Kaplow, inspired by the writings of Lorenz Hart and Elizabeth Weiland
directed by Richard Linklater

by Angelo Muredda Contrasting epitaphs set the tone for Richard Linklater’s Blue Moon, a melancholy tribute to the self-destructive genius of Broadway lyricist Lorenz Hart, a not especially handsome guy played by Linklater’s decidedly handsome long-time muse, Ethan Hawke. Moments before we see the man’s lonesome onscreen death from pneumonia on a rainy street, a title card offers Hart’s posthumous characterization from a pair of observers: his contemporary Oscar Hammerstein II, who hails him as “alert and dynamic and fun to be around,” and cabaret performer Mabel Mercer, who pronounces him “the saddest man I ever knew.” Hawke’s Hart is both–a charming but embittered barfly in a personal and professional crisis who loves conversation as much as he resents having to make it with perceived dullards like Hammerstein, who, in the film’s timeline, has just replaced him as Richard Rodgers’s creative partner on the verge of their major commercial breakthrough, Oklahoma!.

Christoph Waltz in a top hat in Frankenstein

Telluride ’25: Frankenstein

****/****
starring Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz
screenplay by Guillermo del Toro, based on the book Frankenstein; or: The Modern Prometheus by Mary Shelley
directed by Guillermo del Toro

by Walter Chaw The poetry lives in the father. Do I mean the poetry? I’m not sure. No, I mean the place where this piece breathes and has always breathed is the father. The fathers. I say “poetry” because it’s a term that covers a lot of ground for me. Poetry is something that is ineffable, ephemeral, inexplicably alive. It is ageless and immortal. Guillermo del Toro’s Frankenstein is about his father and Our Father. Fathers is where the poetry of it lives. It is, itself, poetry. My God, it’s beautiful. Let me explain.

Emily Blunt and The Rock taking a nighttime stroll in The Smashing Machine

TIFF ’25: The Smashing Machine

**/****
starring Dwayne Johnson, Emily Blunt, Ryan Bader, Bas Rutten
written and directed by Benny Safdie

by Angelo Muredda The early narrative on Dwayne Johnson’s starring role as veteran mixed-martial artist Mark Kerr in Benny Safdie’s The Smashing Machine was that it was sure to mark an overdue career reinvention for the wrestler turned actor turned annoying social-media poster. After years of his star power waning in terms of prestige as well as audience appeal–the decline measured in cringe posts about how the “hierarchy of power in the DC universe is about to change” thanks to his appearance in Black Adam (which bombed) and unflattering headlines about how his character in the Fast & Furious franchise was contractually forbidden from losing a fight onscreen (which made him seem not invulnerable but narcissistic)–finally Johnson would develop both the deft comic touch and dramatic depth he’d shown in Richard Kelly’s Southland Tales and Michael Bay’s Pain & Gain. That Johnson is every bit as good as was promised by the PR campaign, as vulnerable and bruised onscreen as he has been aloof and guarded in real life, comes as something of a monkey’s paw situation, given that his fluid and charming performance is one of the only things worth unreservedly recommending in the otherwise fairly standard film. Despite the outcome at the Venice Film Festival, which saw Johnson go home critically lauded but empty-handed while Safdie took the Best Director prize, Johnson’s ascent comes at the expense of his director’s first real draw as an artist–a slightly spiky but mostly unremarkable sports biopic worthy of being in the awards conversation, in the derogatory sense.

Amanda Seyfried, arms spread wide in ecstasy amid a crowd of followers

TIFF ’25: The Testament of Ann Lee

Ann Lee
***/****

starring Amanda Seyfried, Thomasin McKenzie, Lewis Pullman, Tim Blake Nelson, Christopher Abbott
written by Mona Fastvold and Brady Corbet
directed by Mona Fastvold

by Angelo Muredda Speaking at the press conference following the Venice world premiere of Mona Fastvold’s The Testament of Ann Lee, co-writer and second-unit director Brady Corbet, Fastvold’s husband, illuminated the couple’s fruitful creative partnership, which also yielded their co-screenwriting duties on 2024’s The Brutalist. “We firmly believe,” he said, pointing to Fastvold’s ownership of and final cut on the film, “that you can only serve one master at a time.” To say nothing of the film’s numerous aesthetic and thematic echoes of Paul Thomas Anderson’s The Master, not to mention those of their previous project, Corbet’s comment is an interesting critical pathway into an often impenetrably busy, ambitious work that, when one breaks it down, is about both a marriage in tension and a husband working in service–far more glumly than the gregarious Corbet–to his spouse’s singular vision of the world. Pricklier than the more awards-friendly The Brutalist, though vulnerable to the same structural imbalances and ambiguity, The Testament of Ann Lee is a pleasantly odd text: a rich, overstuffed period musical that makes a grand figure of its impossibly marginal fringe subject.

Adult sisters lying on bed in an emotional embrace

Telluride ’25: Sentimental Value

Affeksjonsverdi
****/****

starring Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, Elle Fanning
written by Eskil Vogt
directed by Joachim Trier

by Walter Chaw Joachim Trier is my favourite living director. Through his work, I’m seen, and in being seen, I am less lonesome, less self-loathing. For a while, anyway. When he finds value in the melancholy heroes of his films, riddled though they may be with depression, prone to stupid mistakes and debilitating anxiety though they are, he finds value, somehow, in me. The first movie of his I saw was Oslo, August 31st, which opens with druggie-in-recovery Anders (Anders Danielsen Lie) filling his pockets with rocks like a Danish Virginia Woolf and, on the first night of a day trip away from rehab, walking into a lake. He fails to kill himself, however, as he’s failed at everything else. I’ve failed in the same way. It’s hard to explain what that feels like if you haven’t experienced it. He’s 34. An old friend tells him he’s got a fresh start and should make the most of it, but he tells her it’s too late. All of his friends have transitioned into the next part of their lives while he’s been stuck in place with his addiction, anchored down by the dead, flat weight of his unmet potential. What kind of life is left for someone who was only ever really good at self-sabotage? What kind of next step is there for someone afraid to take the first one? Oslo, August 31st is one of the very few movies ever to nail what depression feels like. Sadness? Sadness is easy. Despair is easy. Hard is feeling like you’ve disappointed everyone who ever believed in you. Or they will be disappointed, given enough time. Hard is knowing you’re the problem. It’s the last day of summer. I’ve never felt so old.

Linda Schuyler in a chair in a nicely appointed living room being interviewed

TIFF ’25: Degrassi: Whatever It Takes

**/****
directed by Lisa Rideout

by Bill Chambers For my brother’s birthday a couple of years ago, I bought him an officially licensed novelty T-shirt for The Zit Remedy‘s “Everybody Wants Something Tour” that he continues to wear proudly for the, well, novelty factor. Talk about kitsch heaven, if you’re a Canadian of a certain age. But as I watched Degrassi: Whatever It Takes, Lisa Rideout’s new and decidedly uneven documentary about the television institution that spawned The Zit Remedy (among other fictional acts, including Drake), I began to worry I’d erred in giving money to the Degrassi Industrial Complex, whose genesis dates back to 1979, when Linda Schuyler adapted the children’s book Ida Makes a Movie into a short subject that was shot on, dun dun dunnn, De Grassi Street in Toronto. Ida Makes a Movie later became the retroactive pilot for “The Kids of Degrassi Street”–itself a dry run for “Degrassi Junior High”, which is when Schuyler’s dogged vision of a TV show that’s all Afterschool Specials finally hooked the zeitgeist. Everybody wants something they’ll never give up, indeed.

TIFF ’25: The Fence

TIFF ’25: The Fence

***/****
starring Isaach De Bankolé, Matt Dillon, Mia McKenna-Bruce, Tom Blyth
screenplay by Claire Denis, Suzanne Lindon, and Andrew Litvack, based on Black Battles with Dogs by Bernard-Marie Koltès
directed by Claire Denis

By Angelo Muredda A sparsely populated construction site in West Africa becomes the locus of a nocturnal power struggle between Black labourers, white occupiers, and the land that rejects the latter like a virus in Claire Denis’s The Fence, an eerie postcolonial thriller where the subaltern not only speaks but compels, standing at the gate of the white occupiers’ ill-acquired homes and enterprises. Adapted from French writer Bernard-Marie Koltès’s 1979 play Black Battles with Dogs, the film comfortably slots into Denis’s oeuvre alongside her earlier works examining the uneasy presence of white settlers in Africa, even as its commitment to the symbolically freighted, dialogue-heavy text makes it, to its detriment, talkier than her usual work. Although it often threatens to devolve into a stilted filmed play, The Fence thrums along to its own strange rhythm on the strength of its magnetic cast, a quartet of polarized opposites bumping into one another in close-quarters, and Denis’s sensitivity to the particular sensory experiences of her characters, each feeling acutely out of place in an uncanny space that one longtime settler assures a new arrival is “very real.”

Devilishly handsome George Clooney standing a few feet away from a giant George Clooney poster

Telluride ’25: Jay Kelly

*/****
starring George Clooney, Adam Sandler, Riley Keough, Laura Dern
written by Noah Baumbach & Emily Mortimer
directed by Noah Baumbach

by Walter Chaw Noah Baumbach’s Jay Kelly wants to be two things. It wants to be Cinema Paradiso, and it wants to be George Clooney’s All That Jazz–a hagiography for the temple of film on the one hand, a self-lacerating reflection on the cost of stardom on the other. A tightrope, in other words, requiring an abiding, all-consuming, some might even say sloppy love of movies paired with a genius-level creator. You see the problem. I have admired many of Baumbach’s works, both individually and in collaboration with Wes Anderson, but I’ve never found any of them to be particularly in rapture over the transformative potential of film as a medium. I have admired much of George Clooney’s work, but have never found him to be a once-in-a-lifetime talent with a deeply troubled backstory like, say, Bob Fosse. The closest analogue to Jay Kelly is actually Mr. Holland’s Opus.

Telluride ’25: Hamnet

Telluride ’25: Hamnet

ZERO STARS/****
starring Jessie Buckley, Paul Mescal, Emily Watson, Joe Alwyn
screenplay by Chloé Zhao and Maggie O’Farrell, based on O’Farrell’s novel
directed by Chloé Zhao

by Walter Chaw There is so much acting in Hamnet. So much. The most acting. A host, a bounty, a feast. Remember Denzel Washington’s Fences? It makes Fences seem subtle and reserved–even dignified, if you can imagine, which I could not. Hamnet is heavy with acting in the sense that brood cows are heavy with young in late July, teats pendulous and bellies stretched like unrefrigerated yogurt capsules whose live colonies have boomed under torpid, incubated petri-dish conditions. Miserable. Suffering. Ridden with monologue and gesticulation. The term “to the rafters” doesn’t begin to cover it, given how the great abundance (embarrassment, superfluity, profusion, glut) of acting in Hamnet is directed at the very heavens themselves, forsooth, screeched in the key of rent flesh and ripped bodice to the bowed ears of weary Danish gods. What is a stage that is only proscenium? Hamnet is the answer now and going forward.