---
title: "Anemone"
year: 2025
kind: "film"
canonical: "https://film.one/film/anemone"
fi1m_id: "anemone"
imdb_id: "tt33549447"
tmdb_id: 1364608
wikidata_id: "Q130394023"
fi1m_score: 50
critics_score: 52
critics_reviews: 22
published: "2026-10-03T21:31:28.112573+00:00"
updated: "2026-10-03T21:31:28.952320+00:00"
region: "MY"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Anemone (2025)

Directed by Ronan Day-Lewis · 2h 05m · Drama

## Identity

Anemone

- **Canonical:** https://film.one/film/anemone
- **Type:** Film
- **Fi1m ID:** anemone
- **IMDb ID:** tt33549447
- **TMDB ID:** 1364608
- **Wikidata ID:** Q130394023
- **Same entity:** https://www.imdb.com/title/tt33549447/, https://www.themoviedb.org/movie/1364608, https://www.wikidata.org/wiki/Q130394023

**Fi1m score: 50** · Critics 52 from 22 reviews

*In a sentence:* Two superb speeches in a shed, and a two-hour wood grown around them to keep them dry

> Daniel Day-Lewis returns to a hut in a wood and gives his son Ronan two monologues worth the trip. Around them is a long, grey, hushed film that keeps telling us something terrible happened and mostly declines to make drama out of it.

## Synopsis

Jem Stoker (Sean Bean) walks into a wood in the north of England with a pack on his back and a letter in his pocket, looking for his brother. Ray Stoker (Daniel Day-Lewis) has lived out there alone for years, in a hut of tarpaulin and tins, and has no wish to be found. Jem has come because of Brian (Samuel Bottomley), the son Ray left behind, raised by Jem and Nessa (Samantha Morton) in a terraced house a long way from the trees. Brian is in trouble, and Jem thinks only his father can reach him. Ray, a former soldier, would rather talk about anything else. The first act is rain, a stove, two men circling each other over tea, poachers in the undergrowth, and a house back home where Nessa waits for news.

## Review

Ronan Day-Lewis directs his first feature from a script written with his father, and it runs 125 minutes, nearly all of them in the rain. Jem Stoker (Sean Bean) walks into a wood to find his brother Ray (Daniel Day-Lewis), who has lived there alone for years and wants to go on doing so. Jem has come to fetch him home for the sake of Ray’s son Brian (Samuel Bottomley), raised in Ray’s absence by Jem and Nessa (Samantha Morton). That is the whole engine of the film, and it is a sound one. The film is seriously acted, handsomely shot and, for long stretches, stuck.

Start with what works, because it works a great deal. Daniel Day-Lewis plays Ray as a man who has stopped using his voice and finds it rusty when he needs it. He eats like an animal, he laughs at nothing, and twice in the film he tells a story: one about a priest, one about his years as a soldier in Northern Ireland. We sat without moving through the first of these. The reason is that he tells it flat, the way people tell things they have told themselves a thousand times, and Ben Fordesman’s camera does not move either, so there is nothing to watch but a face deciding how much to admit. Both speeches would justify the ticket on their own. The trouble is that the film knows this too, and arranges itself around them like furniture.

Sean Bean has the quieter job and does it properly. His Jem is the brother who stayed, who prays, who absorbs Ray’s contempt without returning it, and Bean lets you see the cost of the patience without ever asking for credit. The scenes where the two of them simply sit, one talking and one not, are the best the film has after the monologues. Jane Petrie dresses Ray in layers of old army kit and Jem in a decent anorak, which tells you most of what the script spends an hour telling you.

Fordesman shoots the wood in flat grey-green light, wide and still, with the men small in the frame and the trees doing most of the acting. It is good to look at. A sequence at a river is the one place the images and the story pull in the same direction at the same time. Chris Oddy’s hut is exact: tarpaulin, a stove, tins stacked like a man who counts them, nothing that was not carried in by hand. The Haxan Cloak scores all of this with low electronic drones that tell us to be frightened of a scene in which two men are eating, and after the first few times we stopped believing the warning.

Then there is everything outside the wood. Nathan Nugent cuts away, every so often, to Nessa and Brian in their kitchen, and each time the film stops dead. Morton is given a worried face and little else to do with it. Brian’s trouble is announced rather than shown. Safia Oakley-Green’s Hattie is barely a part. The script keeps stating that terrible things were done and not forgiven, and it keeps stating it in the same place, in the same weather, to the same drone. By the ninetieth minute we were waiting, and then we were irritable about waiting, because the film plainly had its two best scenes behind it and seemed to know it. The last half hour turns to weather and symbol in ways we will not describe; we laughed once where we were not meant to.

As a debut it is not lazy. Ronan Day-Lewis frames with real care and trusts his actors with long silences, which is rarer in first films than it ought to be. What he has not yet learned is when a scene is finished. Set against the small, hard British films about damaged men it most resembles, this one is better acted than almost any of them and thinner than most.

See it if you have been waiting for Daniel Day-Lewis to come back, because for perhaps twenty minutes he is as good as he has ever been. At home you will be tempted to find those twenty minutes and skip the wood, and we would understand.

*Fi1m score 50, published 3 October 2026.*

## What the critics say

Most critics agree that Anemone belongs to Daniel Day-Lewis. Nearly every review, including the hostile ones, picks out his performance, and several single out two long monologues as the film’s strongest passages. The imagery gets the next most consistent credit: the woodland setting, a river sequence, and a debut director with a clear eye for a frame. Sean Bean draws a few mentions for his quieter work.

Beyond that the reviews scatter widely. The reservations cluster on the script, which is called thin, underwritten and slow, with a story that stays hazy too long and a tone most find excessively solemn. A handful of critics, Empire and IndieWire among them, think the promise outweighs the faults. A larger group finds it a slog, and the lowest scores come from Variety, which calls it a static dud, and The Observer, which alone argues the film wastes Day-Lewis rather than serving him.

## Straight answers

**Is Anemone worth watching?**

*Anemone* is worth watching mainly for Daniel Day-Lewis, who gives two monologues in a hut that are as good as anything he has done, and we scored it 50. Around them is a long, grey, hushed film about a damaged ex-soldier and his brother that keeps saying something terrible happened without making drama of it. For patient admirers of the cast; others will find it stuck.

**How long is Anemone, and what is it rated?**

*Anemone* runs 2h 05m. It is a drama film.

**Where can I watch Anemone in Malaysia?**

*Anemone* is streaming on HBO Max in Malaysia. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Anemone, and is it suitable for children?**

*Anemone* is a UK 15 and US R, an adult drama about an ex-soldier living alone in a wood, and it is not for children. The violence is mostly spoken rather than shown: a story about Northern Ireland, poachers in the undergrowth, a score of low drones that insists on menace. Teenagers used to slow, talk-heavy films might manage it; the squeamish have little to fear beyond the mood.

**How does Anemone compare to Hunger?**

*Anemone* and [*Hunger*](https://film.one/film/hunger) share Northern Ireland, a priest and a long still conversation, but *Hunger* is the better film by some distance. McQueen's prison drama earns its stillness and lands its suffering, while *Anemone* builds two hours of rain and drone around twenty excellent minutes. Choose *Hunger* for a complete film, *Anemone* for Daniel Day-Lewis alone.

**What should I watch after Anemone?**

After *Anemone*, try [*Hunger*](https://film.one/film/hunger) (2008, Fi1m 86): Northern Ireland, a priest and one long conversation that earns every minute of its stillness. Then [*Leave No Trace*](https://film.one/film/leave-no-trace) (2018, Fi1m 88): A veteran hiding in the woods with a child, told with the patience this film lacks; and [*The Selfish Giant*](https://film.one/film/the-selfish-giant) (2013, Fi1m 88): Northern England, scrap, poverty and boys in trouble; Clio Barnard makes the bleakness move.

### Reviews we read (22)

- **Empire**, Ian Freer (80/100, inferred): Freer finds the film a powerful, brooding story and praises Daniel Day-Lewis’s performance as a showcase for his talent. He also singles out Sean Bean’s subtle work and the film’s visual poetry, though he finds the cuts to Nessa and Brian slow the story. [Read](https://www.empireonline.com/movies/reviews/anemone/)
- **IndieWire**, Ryan Lattanzio (B): Lattanzio finds the debut a miserable but richly made drama whose promise outweighs its flawed conclusion. He praises Daniel Day-Lewis’s performance and the film’s dense, spiky dialogue. [Read](https://www.indiewire.com/criticism/movies/anemone-review-ronan-day-lewis-1235153177/)
- **The AV Club**, Luke Hicks (B): Hicks finds the film a poignant, promising drama that lets its mysteries linger too long. He praises Daniel Day-Lewis’s magnetic performance and the painterly imagery, especially a striking river sequence. [Read](https://www.avclub.com/anemone-review)
- **Screen Daily**, Robert Daniels (64/100, inferred): The page identifies this as a review, but its verdict is not visible in the accessible text. The article body is behind a paywall, so no specific praise or complaint can be established. [Read](https://www.screendaily.com/reviews/anemone-review-daniel-day-lewis-returns-to-the-big-screen-in-family-drama-directed-by-his-son/5209393.article)
- **The New York Times** (64/100, inferred): The page could not be accessed, so the critic’s verdict cannot be determined. No praise or complaint from the review was available to identify. [Read](https://www.nytimes.com/2025/10/02/movies/anemone-review-daniel-day-lewis.html)
- **Little White Lies**, David Jenkins (4/3/2): Jenkins finds the film a dour slog despite moments of magic. He praises Daniel Day-Lewis’s two intricate monologues, while criticizing the stylized visuals and thin supporting characters. [Read](https://lwlies.com/reviews/anemone)
- **Time Out**, Anna Smith (3/5): The review presents the film as a powerful, haunting family drama. It singles out Daniel Day-Lewis’s performance and the film’s visual poetry for praise. [Read](https://www.timeout.com/movies/anemone-review-2025)
- **Sight and Sound**, BFI (55/100, inferred): The review finds the debut uneven, despite Daniel Day-Lewis’s potent, realistic performance. It praises the woodland atmosphere but faults the dramatic structure, repetitive visual choices and soundtrack. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/anemone-welcome-return-from-daniel-day-lewis)
- **Slant Magazine**, Anzhe Zhang (2/4): The critic finds the film visually striking but dramatically underdeveloped, with its family story obscured by hazy storytelling. Daniel Day-Lewis’s two monologues are singled out as powerful highlights, though they only partly compensate for the weak script. [Read](https://www.slantmagazine.com/film/anemone-review-daniel-day-lewis-ronan-day-lewis/)
- **The Guardian** (2 out of 5 stars): The review calls the film a bleak, painfully serious misfire. It faults the film for being portentous and plodding. [Read](https://www.theguardian.com/film/series/first-look-review/2025/sep/28/all)
- **Los Angeles Times**, Tim Grierson (35/100, inferred): Grierson finds the film weighed down by excessive seriousness and an underwritten story, despite its star’s commanding presence. He singles out Daniel Day-Lewis’s stillness and volcanic emotional force as the film’s most compelling element. [Read](https://www.latimes.com/entertainment-arts/movies/story/2025-10-03/anemone-review-daniel-day-lewis-ronan-sean-bean-samantha-morton)
- **The Hollywood Reporter**, David Rooney (30/100, inferred): Rooney finds the family drama underpowered and emotionally distancing, despite Daniel Day-Lewis’s commanding return. He singles out Day-Lewis’s magnetic performance and the film’s striking landscapes, while criticizing its thin screenplay and ponderous atmosphere. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/anemone-review-daniel-day-lewis-1236385949/)
- **Vulture**, Bilge Ebiri (30/100, inferred): Ebiri finds the film muddled and overlong, despite Daniel Day-Lewis nearly elevating it. He singles out Day-Lewis’s intense, emotionally wide-ranging performance as transcendent. [Read](https://www.vulture.com/article/review-daniel-day-lewis-almost-saves-anemone-from-itself.html)
- **The Observer**, Wendy Ide (10/100, inferred): Ide finds the film an incoherent, undisciplined slog and strongly rejects its execution. She criticizes its empty symbolism and showy acting, especially saying it wastes Daniel Day-Lewis and Samantha Morton. [Read](https://observer.co.uk/culture/film/article/wendy-ides-pick-of-other-films-train-dreams-dragonfly-predator-badlands-the-choral-and-more)
- **Variety**, Owen Gleiberman (10/100, inferred): Gleiberman judges the film a dud: pretentious, static, and short on drama. He praises Ronan Day-Lewis’s eye for framing shots, but says the film’s striking imagery and themes ultimately amount to little. [Read](https://variety.com/2025/film/reviews/anemone-review-daniel-day-lewis-1236530758/)
- **The Wrap**, William Bibbiani (78/100, inferred): The critic finds the film odd and insular but ultimately mesmerizing and heartfelt. They single out the strong performances, especially Daniel Day-Lewis’s intense work, while noting the film’s deliberate pacing and heavy-handedness. [Read](https://www.thewrap.com/anemone-review-daniel-day-lewis/)
- **Deadline**, Damon Wise (70/100, inferred): Wise finds Anemone haunting and atmospheric, despite its length and some distracting late magic realism. He especially praises its visual experience and the chemistry between Daniel Day-Lewis and Sean Bean. [Read](https://deadline.com/2025/09/anemone-review-daniel-day-lewis-ronan-day-lewis-sean-bean-1236557832/)
- **/Film**, Jeremy Mathai (6.5/10): The review finds the debut uneven in pacing and thematic coherence, but sees promise in Ronan Day-Lewis’s filmmaking. It praises Daniel Day-Lewis’s commanding performance and the powerful work of the cast. [Read](https://www.slashfilm.com/1981994/anemone-daniel-day-lewis-movie-review/)
- **Paste**, Jesse Hassenger (6.4/10): Hassenger finds the film artistically sincere but ultimately somewhat self-indulgent and less satisfying when it shifts toward conventional family drama. He praises Daniel Day-Lewis’s vivid performance and the brothers’ compelling, gritty connection. [Read](https://www.pastemagazine.com/movies/daniel-day-lewis/anemone-film-nyff-daniel-day-lewis-ronan-day-lewis)
- **The Playlist** (64/100, inferred): The page is blocked by anti-crawler protection, so the critic’s verdict cannot be determined. No specific praise or complaint is visible. [Read](https://theplaylist.net/anemone-review-daniel-day-lewis-roars-back-to-life-in-ronan-day-lewis-blistering-directorial-debut-20251002/)
- **Collider**, Ross Bonaime (5/10): Bonaime finds the film visually striking but too empty and drawn out to make its story compelling. He praises Daniel Day-Lewis’s powerful performance in a standout monologue, though those moments are too sparse. [Read](https://collider.com/anemone-review-daniel-day-lewis-sean-bean/)
- **Eye for Film**, Amber Wilkinson (25/100, inferred): Wilkinson finds the film a slog, with familiar themes and leaden pacing undermining its drama. She praises the actors’ performances and the director’s visual flair, but says the film’s looks cannot compensate for its lack of substance. [Read](https://www.eyeforfilm.co.uk/review/anemone-2025-film-review-by-amber-wilkinson)

## Details

- **Director:** Ronan Day-Lewis
- **Director:** Ronan Day-Lewis
- **Writer:** Daniel Day-Lewis, Ronan Day-Lewis
- **Cinematography:** Ben Fordesman
- **Editor:** Nathan Nugent
- **Music:** The Haxan Cloak
- **Production design:** Chris Oddy
- **Costume design:** Jane Petrie
- **Producer:** Jeremy Kleiner, Dede Gardner
- **Cast:** Daniel Day-Lewis as Ray Stoker; Sean Bean as Jem Stoker; Samantha Morton as Nessa; Samuel Bottomley as Brian; Safia Oakley-Green as Hattie; Lewis Ian Bray as Poacher 2; Paul Butterworth as Mr. Jarvis; Karl Cam as Barman
- **Runtime:** 2h 05m
- **First release (the US):** 28 September 2025
- **Genres:** Drama
- **Budget:** $11 million
- **Box office:** $1 million
- **Trailer:** https://www.youtube.com/watch?v=uS7DHGFXkNY

## Where to watch in Malaysia

- HBO Max: streaming

*Checked 2026-10-03.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IT, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, UA, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Hunger* (2008), Fi1m 86: Northern Ireland, a priest and one long conversation that earns every minute of its stillness. — [Fi1m page](https://film.one/film/hunger.md)
- *Leave No Trace* (2018), Fi1m 88: A veteran hiding in the woods with a child, told with the patience this film lacks. — [Fi1m page](https://film.one/film/leave-no-trace.md)
- *The Selfish Giant* (2013), Fi1m 88: Northern England, scrap, poverty and boys in trouble; Clio Barnard makes the bleakness move. — [Fi1m page](https://film.one/film/the-selfish-giant.md)
- *The Banshees of Inisherin* (2022), Fi1m 84: Two men who cannot forgive each other, with the jokes this film forgot to bring. — [Fi1m page](https://film.one/film/the-banshees-of-inisherin.md)
- *Winter Light* (1963), Fi1m 88: Bergman on faith, silence and a man who has stopped believing; eighty minutes, no fat. — [Fi1m page](https://film.one/film/winter-light.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/anemone