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Anemone review – Daniel Day-Lewis returns for a bleak and painfully serious misfire
New York film festival: the actor un-retires, with his son onboard to direct, for a portentous and plodding film about war-torn men
It has been eight long years since Daniel Day-Lewis last graced the screen, after the filming of 2017âs Phantom Thread left him âoverwhelmed by a sense of sadnessâ. Retirement, it turns out, was more âretirementâ, an extended bit of rest and recuperation for another gauntlet. Anemone, the three-time Oscar winnerâs quote-unquote comeback film and the feature directorial debut of his son Ronan Day-Lewis, is an even less sunny experience. (At least for the viewer; Day-Lewis has described filming with his son as âbeginning to end, just pure joy to spend that time together with himâ.) In fact, itâs gray-skies-only for the filmâs plodding two hours, the better to hammer home the point of roiling disquiet within, to quote the logline, âthe complex and profound ties that exist between brothers, fathers, and sonsâ.
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