--- title: "Clemency" year: 2019 kind: "film" canonical: "https://film.one/film/clemency" fi1m_id: "clemency" imdb_id: "tt5577494" tmdb_id: 565307 wikidata_id: "Q60611826" fi1m_score: 81 critics_score: 74 critics_reviews: 21 published: "2026-10-03T01:14:11.050741+00:00" updated: "2026-10-03T01:14:11.629485+00:00" region: "NL" 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." --- # Clemency (2019) Directed by Chinonye Chukwu · 1h 52m · Drama ## Identity Clemency - **Canonical:** https://film.one/film/clemency - **Type:** Film - **Fi1m ID:** clemency - **IMDb ID:** tt5577494 - **TMDB ID:** 565307 - **Wikidata ID:** Q60611826 - **Same entity:** https://www.imdb.com/title/tt5577494/, https://www.themoviedb.org/movie/565307, https://www.wikidata.org/wiki/Q60611826 **Fi1m score: 81** · Critics 74 from 21 reviews *In a sentence:* Alfre Woodard makes holding herself together look like the hardest job in the prison > Alfre Woodard makes *Clemency* a painful, persuasive drama about the work of carrying out executions. Chinonye Chukwu gives her actors room, though a sluggish middle stretch tests our patience with an otherwise affecting film. ## Synopsis Warden Bernadine Williams (Alfre Woodard) oversees executions in an American prison, where she is preparing for the execution of Anthony Woods (Aldis Hodge). Her duties bring her into contact with the prisoner and include explaining the drugs used in the execution procedure. Bernadine tries to keep her professional composure as the work takes a growing toll on her. Her husband, Jonathan Williams (Wendell Pierce), feels the strain within their marriage. While Anthony waits for his scheduled execution, Bernadine struggles to carry on doing the job she is responsible for. ## Review Chinonye Chukwu’s *Clemency* is a difficult film to recommend for a quiet evening, but we recommend it. Its account of a prison warden administering the death penalty is strongest when Alfre Woodard has almost nothing to say. Writing and directing, Chukwu asks us to consider what repeated participation in executions does to someone expected to remain competent and composed. She also keeps the condemned man’s suffering in view. The film sometimes labours its point, but Woodard makes Bernadine’s determination to carry on credible and painful to watch. Woodard plays Warden Bernadine Williams as someone for whom showing distress would amount to a failure at work. Her face and posture suggest the effort of keeping a professional manner, without asking us to congratulate Bernadine for enduring it. We found the exchanges with Aldis Hodge’s Anthony Woods hard to bear, particularly the explanation of the execution drugs. Woodard makes the explanation sound like a duty Bernadine knows how to perform, while Hodge gives us the terror of being the person receiving it. Eric Branco’s cinematography gives Woodard’s face the attention it needs, and the visual restraint suits an actor who can hold us without a speech. Margaux Rust’s production design is similarly unobtrusive. The prison surroundings do their job without competing with the people, keeping our attention on the discomfort of these encounters. That plainness is useful: the procedure is disturbing enough without the setting telling us how to feel about it. Phyllis Housen’s editing is generous to the actors, allowing the discomfort of an exchange to persist rather than hurrying us towards the next development. This is often exactly right for Woodard and Hodge. Across the middle section, however, the patience becomes a problem: we have understood Bernadine’s distress well before the film finishes showing us its extent. Kathryn Bostic’s music supports the sombre mood effectively, but it cannot supply the movement missing from these passages. The strain on Bernadine’s marriage should give those passages another direction, and Wendell Pierce brings welcome feeling to Jonathan Williams. Yet Jonathan too often seems to have been written chiefly to demonstrate the damage his wife’s job causes at home. The domestic material gives us another measure of her unhappiness without giving their relationship quite enough life of its own. The writing is more convincing when Bernadine and Anthony have to deal directly with each other. Within the prison-drama tradition, the choice to give so much attention to the warden could easily leave the condemned man serving as a lesson for someone else. Hodge prevents that. His distress makes Anthony a person we remain concerned about, even when Bernadine’s difficulty doing her work occupies the centre of the film. Chukwu’s interest in the people carrying out executions is worth pursuing, but our sympathy for them should never make their predicament seem equal to that of the person facing death. *Clemency* works best when it leaves us with that unequal encounter and lets its actors make us uncomfortable. Its slower passages ask for more patience than they repay. We would still make time for Woodard and Hodge, whose scenes together make the prospect of execution painfully immediate. Choose it for an evening when there is room to sit with something difficult, rather than as a way of shaking off the working day. *Fi1m score 81, published 3 October 2026.* ## What the critics say Most critics respond warmly to Clemency as a sober, affecting examination of the human cost of capital punishment. Praise centres on Alfre Woodard’s restrained performance as the prison warden, particularly the small physical details that reveal the strain beneath her professional composure. Aldis Hodge also draws praise for his emotional depth. The favourable reviews value Chinonye Chukwu’s measured direction and the attention paid to how executions affect those involved. Reservations concern pacing and how plainly the film delivers its themes, with even some admirers finding the middle section drawn out. The spread is wide: Variety finds the drama moving but argues that uncertainty about the prisoner’s guilt muddles its message, while Eye for Film objects to overly explicit storytelling. The Wrap offers the sharpest dissent, finding the restraint emotionally distancing and the central character underdeveloped, despite praising Hodge. The performances earn broader agreement than the storytelling. ## Straight answers **Is Clemency worth watching?** *Clemency* is worth watching for Alfre Woodard and Aldis Hodge’s painful encounters between a prison warden and a condemned man; we score it 81 out of 100. We recommend it for an evening when a demanding drama feels welcome, though the sluggish middle and underwritten marriage scenes require patience. **How long is Clemency, and what is it rated?** *Clemency* runs 1h 52m. It is a drama film. **Where can I watch Clemency in the Netherlands?** *Clemency* is not on any streaming or rental service in the Netherlands at the moment. It is available in 12 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Clemency, and is it suitable for children?** *Clemency* has a UK 15 certificate and is not suitable for children; its account of execution makes it a distressing choice for sensitive viewers. We find the explanation of execution drugs and the condemned man’s terror particularly hard to bear, so older teenagers and adults should expect difficult death-penalty material rather than light prison drama. **How does Clemency compare to Dead Man Walking?** *Clemency* shares [*Dead Man Walking*](https://film.one/film/dead-man-walking)’s reliance on difficult human encounters to explore capital punishment, but concentrates on a warden’s struggle to keep doing her job. We recommend both for their performances: *Dead Man Walking* occasionally makes its debate feel too arranged, while *Clemency* tests our patience with its middle stretch but rewards an interest in the work of carrying out executions. **What should I watch after Clemency?** After *Clemency*, try [*Dead Man Walking*](https://film.one/film/dead-man-walking) (1995, Fi1m 84): Another death-penalty drama that lets difficult human encounters carry the moral questions. Then [*The Assistant*](https://film.one/film/the-assistant) (2019, Fi1m 81): Workplace routine becomes quietly frightening, with another lead performance built from suppressed reactions; and [*12 Angry Men*](https://film.one/film/12-angry-men) (1957, Fi1m 91): For a more talkative examination of the responsibility involved in deciding another person’s fate. ### Reviews we read (21) - **IndieWire**, Eric Kohn (A-): Kohn praises the film as a haunting, mature prison drama, while noting that its middle section drags. He singles out Alfre Woodard’s brilliant performance as the film’s central force. [Read](https://www.indiewire.com/features/general/clemency-review-alfre-woodard-is-brilliant-in-must-see-prison-drama-sundance-1202039081/) - **Los Angeles Times**, Justin Chang (90/100, inferred): Chang praises the film as a gripping, powerfully bleak work of American realism. He singles out Alfre Woodard’s transfixing performance and the emotional depth she and Aldis Hodge bring to their brief exchanges. [Read](https://www.latimes.com/entertainment-arts/movies/story/2019-12-26/review-clemency-alfre-woodard) - **Sight and Sound** (90/100, inferred): The critic finds the film a powerful, clear-eyed examination of America’s death penalty and the injustice it perpetuates. They single out Alfre Woodard’s restrained, phenomenal performance as the warden for praise. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/clemency-death-row-walls-alfre-woodards-warden) - **Empire**, Pamela Hutchinson (85/100, inferred): Hutchinson praises the film as a powerful, morally forceful drama about the human toll of executions. She singles out Alfre Woodard’s subtle, affecting performance and the film’s quiet, economical storytelling. [Read](https://www.empireonline.com/movies/reviews/clemency-review/) - **The Hollywood Reporter**, David Rooney (85/100, inferred): Rooney finds the film engrossing and affecting, though somewhat drawn out, and sees it as a measured advocacy drama. He especially praises Alfre Woodard’s restrained, deeply felt performance as the burdened prison warden. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/clemency-review-sundance-2019-1180101/) - **Vulture**, Angelica Jade Bastién (85/100, inferred): Bastién gives the film a strongly positive verdict, calling it an actors’ showcase and praising its emotional intelligence. She singles out Alfre Woodard’s finely detailed performance, especially the expressive work of her face and body. [Read](https://www.vulture.com/2020/01/clemency-movie-review-alfre-woodards-powerful-performance.html) - **Evening Standard**, Charlotte O'Sullivan (4/5): O'Sullivan finds the deliberately harrowing film ultimately elating and says its precise filmmaking offers hope. She praises Alfre Woodard's outstanding performance, while noting that Wendell Pierce's husband character feels too much like a type. [Read](https://www.standard.co.uk/culture/film/clemency-review-harrowing-tale-of-a-life-falling-apart-on-death-row-a4501481.html) - **Little White Lies**, Rógan Graham (4/4/4): The critic finds the drama moving and says its heavy experience is worth the investment. They single out Alfre Woodard’s performance and praise Chinonye Chukwu’s restrained direction. [Read](https://lwlies.com/reviews/clemency) - **Radio Times**, Beth Webb (4/5): The critic calls the film both gut-wrenching and vital. They single out Alfre Woodard’s performance as a career-defining role. [Read](https://www.radiotimes.com/movie-guide/b-gn2i5f/clemency/) - **Time Out**, Phil de Semlyen (4/5): The critic calls the film excellent, praising its austere treatment of the human cost of the death penalty. Alfre Woodard’s performance is singled out as stunning. [Read](https://www.timeout.com/movies/clemency) - **Slant Magazine**, Chuck Bowen (3/4): Bowen finds the film a compelling, contradictory morality play, though its austere approach lacks some liveliness. He especially praises Alfre Woodard’s subtle performance and the scene where Wendell Pierce reads from Ralph Ellison’s *Invisible Man*. [Read](https://www.slantmagazine.com/film/clemency-review-alfre-woodard-chinonye-chukwu/) - **The Guardian**, Benjamin Lee (75/100, inferred): The critic finds the film bleakly effective, with only a distracting reliance on dream sequences as a notable flaw. Alfre Woodard’s nuanced, restrained performance is singled out as its greatest strength. [Read](https://www.theguardian.com/film/2019/sep/13/clemency-review-alfre-woodard-prison-drama) - **RogerEbert.com** (64/100, inferred): The page could not be accessed, so the critic’s verdict cannot be verified. Its praise or criticism of the film is likewise unavailable. [Read](https://www.rogerebert.com/sundance/sundance-2019-the-last-black-man-in-san-francisco-clemency) - **The New York Times** (64/100, inferred): The article body is inaccessible, so its verdict cannot be determined. No specific praise or criticism is available from the page. [Read](https://www.nytimes.com/2019/12/25/movies/clemency-review.html) - **Variety**, Amy Nicholson (55/100, inferred): Nicholson finds the death-penalty drama moving but says its doubts about Anthony’s guilt muddle its message. She praises Alfre Woodard’s performance, especially the moments when Bernadine’s professional mask slips. [Read](https://variety.com/2019/film/reviews/clemency-review-1203120211/) - **The New Yorker**, Anthony Lane (45/100, inferred): Lane finds the film’s performances strong but says its middle section loses energy and its central themes feel overburdened. He singles out the two execution scenes as the film’s most effective passages, especially Woodard’s final, anguished performance. [Read](https://www.newyorker.com/magazine/2020/01/13/paris-on-the-brink-in-les-miserables) - **NME** (90/100, inferred): The critic calls the film a tour de force and praises its emotionally charged complexity. Alfre Woodard’s precise, poised performance is singled out as magnificent. [Read](https://www.nme.com/reviews/film-reviews/clemency-review-alfre-woodard-2710019) - **Paste**, Andy Crump (8.0): Crump finds the film a nuanced, powerful examination of capital punishment’s toll on everyone involved, while ultimately centering Anthony’s plight. He especially praises the scene between Bernadine and Anthony as she explains the execution drugs, highlighting Chukwu’s craft and the actors’ expressive performances. [Read](https://www.pastemagazine.com/movies/clemency/clemency-review) - **The Playlist** (64/100, inferred): The critic’s verdict and specific praise or criticism are unavailable because the page is blocked. The accessible text contains only an anti-crawler notice. [Read](https://theplaylist.net/clemency-alfre-woodard-sundance-review-20190128/) - **Eye for Film**, Jeremy Mathews (50/100, inferred): The critic finds the film weighed down by overly explicit storytelling despite the strength of its performances. Alfre Woodard’s performance as the prison warden is singled out as its greatest asset. [Read](https://www.eyeforfilm.co.uk/review/clemency-2019-film-review-by-jeremy-mathews) - **The Wrap** (30/100, inferred): TheWrap finds the film well-intentioned but emotionally hollow, with its restrained approach preventing it from resonating. It praises Aldis Hodge’s heartrending performance and the vivid depiction of the execution process, while faulting the underdeveloped central character. [Read](https://www.thewrap.com/clemency-film-review-alfre-woodard/) ## Details - **Director:** Chinonye Chukwu - **Director:** Chinonye Chukwu - **Writer:** Chinonye Chukwu - **Cinematography:** Eric Branco - **Editor:** Phyllis Housen - **Music:** Kathryn Bostic - **Production design:** Margaux Rust - **Costume design:** Suzanne Barnes - **Producer:** Peter Wong, Julian Cautherley, Bronwyn Cornelius - **Cast:** Alfre Woodard as Warden Bernadine Williams; Richard Schiff as Marty Lumetta; Aldis Hodge as Anthony Woods; Wendell Pierce as Jonathan Williams; Danielle Brooks as Evette Wilkinson; Michael O'Neill as Chaplain David Kendricks; Richard Gunn as Deputy Thomas Morgan; LaMonica Garrett as Major Logan Cartwright - **Runtime:** 1h 52m - **Release (the Netherlands):** 27 April 2023 - **Genres:** Drama - **Box office:** $309,776 - **Trailer:** https://www.youtube.com/watch?v=HzUhz2XkFfE ## Where to watch in the Netherlands Not streaming, renting or buying in the Netherlands at the last check. Also available in: AR, AU, BR, CA, CL, CO, FR, GB, IE, MX, PA, US. Add `?region=XX` to this URL for another country. ## Awards - Sundance Film Festival U.S. Dramatic Grand Jury Prize Award 2019: Sundance Film Festival U.S. Dramatic Grand Jury Prize Award (won) ## If you liked this - *Dead Man Walking* (1995), Fi1m 84: Another death-penalty drama that lets difficult human encounters carry the moral questions. — [Fi1m page](https://film.one/film/dead-man-walking.md) - *A Short Film About Killing* (1988): A harsher examination of killing and punishment, with little comfort in either. - *The Chambermaid* (2018): Patient attention to a woman’s working routine reveals pressures she rarely voices. - *The Assistant* (2019), Fi1m 81: Workplace routine becomes quietly frightening, with another lead performance built from suppressed reactions. — [Fi1m page](https://film.one/film/the-assistant.md) - *12 Angry Men* (1957), Fi1m 91: For a more talkative examination of the responsibility involved in deciding another person’s fate. — [Fi1m page](https://film.one/film/12-angry-men.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/clemency