---
title: "Lady Macbeth"
year: 2016
kind: "film"
canonical: "https://film.one/film/lady-macbeth"
fi1m_id: "lady-macbeth"
imdb_id: "tt4291600"
tmdb_id: 410117
wikidata_id: "Q28869534"
fi1m_score: 80
critics_score: 73
critics_reviews: 22
published: "2026-09-27T08:20:40.453401+00:00"
updated: "2026-09-27T08:20:57.243794+00:00"
region: "FR"
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."
---

# Lady Macbeth (2016)

Directed by William Oldroyd · 1h 26m · CNC U · Drama

## Identity

Lady Macbeth

- **Canonical:** https://film.one/film/lady-macbeth
- **Type:** Film
- **Fi1m ID:** lady-macbeth
- **IMDb ID:** tt4291600
- **TMDB ID:** 410117
- **Wikidata ID:** Q28869534
- **Same entity:** https://www.imdb.com/title/tt4291600/, https://www.themoviedb.org/movie/410117, https://www.wikidata.org/wiki/Q28869534

**Fi1m score: 80** · Critics 73 from 22 reviews

*In a sentence:* Eighty-six minutes, one blue dress and almost no music to tell you how to feel

> William Oldroyd’s debut takes the corsets and the drawing room and drains them of every comfort, and Florence Pugh is remarkable in it. It is cold on purpose, and the cold costs it something near the end.

## Synopsis

A stone house on the English moors, in the Victorian years. Katherine Lester (Florence Pugh) has been bought along with a piece of land and married to Alexander Lester (Paul Hilton), a man who wants nothing from her but silence and an heir. His father Boris (Christopher Fairbank) rules the house, forbids her to go outdoors and lectures her over breakfast about her duties. Her maid Anna (Naomi Ackie) laces her into the same stiff blue dress every morning. When both men are called away on business, Katherine walks out onto the moor, eats when she likes, sleeps when she likes, and in the yard meets Sebastian (Cosmo Jarvis), a new groom with a bad temper and a good face. She wants him, and the house wants her to sit still.

## Review

Nikolai Leskov’s novel is Russian and set among merchants; Alice Birch moves it to a stone house on the English moors and William Oldroyd, directing his first feature, films it with the doors shut. Katherine (Florence Pugh) has been bought along with a parcel of land and married to Alexander Lester (Paul Hilton), an older man who wants nothing from her but silence. His father Boris (Christopher Fairbank) wants an heir and says so at breakfast. The film is 86 minutes long and does not waste one of them.

Pugh plays Katherine as a girl who decided, some time before the film starts, that she is cleverer than everyone in the house and is only waiting to prove it. She is told to stay indoors and does; she is told to face the wall and undress and does; she is told not to fall asleep at dinner and, splendidly, does. Then the men are called away, and she walks out onto the moor in her nightclothes and eats her breakfast in her own time, and Pugh lets the whole face open. We have rarely seen an actor do so much sitting still on a sofa. When Boris tells her he knows what she is up to, she looks at him the way one looks at a delayed train.

Ari Wegner shoots the house head-on and dead centre, so that Katherine on her sofa sits in the middle of the frame like a specimen, and she lights the rooms only from the windows, so they go grey-green in the afternoon and near black by dusk. Jacqueline Abrahams strips the sets almost bare: a few chairs, a clock, a bell pull, a great deal of wall. Holly Waddington puts Katherine in one blue dress for most of the film and makes us watch Anna (Naomi Ackie) lace her into it each morning, so the corset becomes one of the routines of the house, like prayers. Dan Jones’s score is barely there, a low tone under a handful of scenes, and for long stretches the only sound is wind, the clock and a skirt on the stair. Nick Emerson cuts hard and early, so scenes stop before they have finished, and the film gets its pace from that alone.

The lover is Sebastian (Cosmo Jarvis), a groom, and we meet him in the yard with the other men, who have hoisted Anna off the ground in a sling to weigh her like a sow and are laughing. We flinched, and the film meant us to, because it is telling us straight away what sort of man Katherine is about to choose. Jarvis plays him as a big, unlettered, physically confident man who is less clever than he thinks and works this out about halfway through. Ackie gives the film’s second great performance and does it almost without lines. Anna sees everything and is blamed for most of it, and the film understands that in this house a black servant has fewer ways out than the white wife she dresses. It does not need a speech to say so and does not make one.

The trouble is the cold, and the film has chosen it. Birch’s script gives Katherine almost no interior; we see what she does and never what she tells herself. For an hour that is a strength, because we lean forward to guess. The second half takes a turn we will not describe, and in its last stretch something happens that we found hard to watch, and we mean hard: we were shocked, not in the way a thriller sells shock but in a way that left us wanting a door out, and the film simply stares back and offers none. Some will call that rigour. We thought it was the one moment the film needed to let us in, and it kept us on the sofa.

Most costume dramas want you to admire the wallpaper. This one has taken the wallpaper down. Set against the Sunday-night serials and Brontë adaptations it resembles from a distance, it is meaner, shorter and far more alive, and set against other first features it is unusually sure of what it is doing. It carries a 15 certificate and earns it. See it for Pugh, and for Ackie, who is nearly as good with far fewer words, and see it knowing the house will not let you out until the credits and will not tell you what to think when it does.

*Fi1m score 80, published 27 September 2026.*

## What the critics say

Most critics take to Lady Macbeth, and nearly all of them take to Florence Pugh. Her performance as Katherine is named in almost every review, called poised, magnetic and chilling by turns, and it is the one thing admirers and detractors agree on. Beyond her, the praise settles on the house: the oppressive interiors, the stark, painterly compositions and the long near-silent stretches. Naomi Ackie’s Anna draws repeated notice, and several critics welcome the film as an upending of the costume drama.

The reservations are about temperature and motive. The Los Angeles Times finds it too cold to involve the viewer, The AV Club thinks the second half drags, and The Independent calls the plot predictable. The two outright dissents go further: Slant Magazine finds it sexist and mean-spirited, and The Wrap faults Katherine’s abrupt transformation and an inner life that is never developed. The spread is wide, from full marks to a single star, though even the harshest notices spare Pugh.

## Straight answers

**Is Lady Macbeth worth watching?**

*Lady Macbeth* is worth watching for anyone who wants a costume drama with the comfort taken out, and we scored it 80. Florence Pugh and Naomi Ackie are both remarkable, and at 86 minutes it wastes nothing. It is cold on purpose, and near the end that cold keeps us further out than we would like.

**How long is Lady Macbeth, and what is it rated?**

*Lady Macbeth* runs 1h 26m and is rated U by the CNC in France. It is a drama film.

**Where can I watch Lady Macbeth in France?**

*Lady Macbeth* is not on any streaming or rental service in France 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 Lady Macbeth, and is it suitable for children?**

*Lady Macbeth* carries a 15 certificate in the UK and earns it, so it is not for children. There is little gore and no jump-scare frightening, but the film contains sex, cruelty towards a servant and, in its last stretch, something we found hard to watch and that it stares at without relief. Older teenagers who can take a bleak film should manage.

**How does Lady Macbeth compare to The Piano?**

*Lady Macbeth* and [*The Piano*](https://film.one/film/the-piano) are both about a bought bride and what she does about it, but they are different in temperature. Campion's film is a full, unsettling romance with Michael Nyman's music pressing at every turn; Oldroyd's is shorter, meaner and nearly silent, with almost no score to guide you. *The Piano* is the warmer and more absorbing film; *Lady Macbeth* is the sharper one.

**Is Lady Macbeth based on a true story or a book?**

*Lady Macbeth* is based on a novel by Nikolai Leskov, not on a true story. The book is Russian and set among merchants; Alice Birch's script moves it to a stone house on the English moors in the Victorian years. You do not need to know the novel, and the title is a nod to Shakespeare rather than an adaptation of him.

### Reviews we read (22)

- **The i Paper**, Matthew Turner (★★★★★): The critic calls the film a remarkable, gripping debut that might be the best film of the year. They single out Florence Pugh’s intense performance as Katherine for particular praise. [Read](https://inews.co.uk/culture/film/lady-macbeth-review-61890)
- **The Guardian**, Peter Bradshaw (90/100, inferred): Bradshaw praises the film as a brilliantly chilling, daring subversion of period costume drama. He particularly singles out Florence Pugh’s lethally charismatic performance and the oppressive atmosphere of the house. [Read](https://www.theguardian.com/film/2017/apr/27/lady-macbeth-review-florence-pugh-william-oldroyd-peter-bradshaw)
- **Sight and Sound**, Pamela Hutchinson (85/100, inferred): Hutchinson calls the film a compelling, dramatically intelligent period drama that outclasses many of its peers. She especially praises Florence Pugh’s performance as Katherine, while also singling out Naomi Ackie’s strong work as Anna. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-lady-macbeth-pares-period-film-back-its-bones)
- **The AV Club**, Katie Rife (B+): Rife finds the film riveting and audacious, though its second half drags and its violent shocks weaken its focus. She praises the performances and claustrophobic atmosphere, especially the tense dynamic between Katherine and Anna. [Read](https://www.avclub.com/captivating-and-cruel-lady-macbeth-dissects-power-and-1798191881)
- **Evening Standard**, Charlotte O'Sullivan (80/100, inferred): O'Sullivan calls the film one of the year's most original, despite some implausibilities. She particularly praises Florence Pugh's performance and the film's striking visual style. [Read](https://www.standard.co.uk/hp/front/lady-macbeth-film-review-gothicnoir-heroine-destined-to-become-a-cult-favourite-a3526081.html)
- **Little White Lies**, Elena Lazic (4/5): Lazic finds the period drama complex and compelling, anchored by Florence Pugh’s strong lead performance. She praises its subtly complex characterization and masterfully composed, near-silent shots, while noting its brutally sour ending. [Read](https://lwlies.com/reviews/lady-macbeth)
- **Radio Times**, Karen Krizanovich (4/5): The critic calls the film fresh, cunning and unflinching, finding its portrait of Katherine’s escape compelling. They praise the stark, spartan setting for deepening the desperation behind her choices. [Read](https://www.radiotimes.com/movie-guide/b-ra3ps6/lady-macbeth/)
- **The Hollywood Reporter**, Stephen Dalton (78/100, inferred): Dalton finds the adaptation a small but impressive debut, with an amoral darkness and contemporary subtext. He especially praises Florence Pugh’s subtle, assured performance and the film’s crisp, painterly visual style. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/lady-macbeth-review-926870/)
- **The Independent**, Geoffrey Macnab (★★★★☆): Macnab finds the film an original, assured and engrossing debut, despite a predictable plot. He especially praises Florence Pugh’s outstanding performance and the film’s eerie, tense atmosphere. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/film-reviews-roundup-lady-macbeth-the-promise-heal-the-living-suntan-a7702831.html)
- **Variety**, Guy Lodge (78/100, inferred): Lodge finds the film a stark, morally unsettling Victorian tragedy with a distinctly modern edge. He especially praises Florence Pugh’s poised, nuanced performance as Katherine. [Read](https://variety.com/2016/film/reviews/lady-macbeth-review-1201853847/)
- **Empire**, David Parkinson (75/100, inferred): Parkinson finds it an intelligently scripted, forceful costume noir that uses Victorian melodrama to explore oppression and morality. He particularly praises Florence Pugh’s arresting performance and the film’s restrained visual and sound design. [Read](https://www.empireonline.com/movies/reviews/lady-macbeth-review/)
- **Vulture**, David Edelstein (70/100, inferred): Edelstein finds the film compelling and morally unsettling, arguing that it shows victimization turning into oppression. He praises its controlled direction and its portrayal of the oppressive household without relying on excessively long shots. [Read](https://www.vulture.com/2017/07/lady-macbeth-movie-review.html)
- **The New Yorker** (65/100, inferred): The review admires the film’s careful construction but wishes it would occasionally break free. It especially praises Florence Pugh’s performance for bringing a dash of madness to the role. [Read](https://www.newyorker.com/goings-on-about-town/movies/lady-macbeth)
- **Screen Daily**, Jonathan Romney (64/100, inferred): The page identifies this as a review, but its verdict is not visible. The paywall also conceals what the critic singles out for praise or complaint. [Read](https://www.screendaily.com/reviews/lady-macbeth-toronto-review/5108947.article)
- **The New York Times** (64/100, inferred): The page is blocked, so the critic’s verdict cannot be confirmed. No praise or criticism from the review is available to report. [Read](https://www.nytimes.com/2017/07/13/movies/lady-macbeth-review.html)
- **Los Angeles Times**, Kenneth Turan (55/100, inferred): Turan finds the film expertly made and compelling, but too cold to achieve deeper emotional involvement. He especially praises Florence Pugh’s performance and the film’s precise, elegant visual compositions. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-lady-macbeth-review-20170713-story.html)
- **Slant Magazine**, Sam C. Mac (1/4): The critic finds the film sexist, psychologically shallow, and ultimately mean-spirited. Florence Pugh’s magnetic, intelligent performance is singled out as its strongest asset, though the critic says it intensifies the character’s remorselessness. [Read](https://www.slantmagazine.com/film/lady-macbeth/)
- **Den of Geek**, Chloe Catchpole (5/5): The review calls the film an original, unmissable period drama with a tense, austere atmosphere. It especially praises Florence Pugh’s electric, multifaceted performance. [Read](https://www.denofgeek.com/movies/lady-macbeth-review/)
- **Eye for Film**, Amber Wilkinson (80/100, inferred): Wilkinson finds the film a compelling, murky take on a familiar story. She particularly praises Florence Pugh and Naomi Ackie for creating a sharp, largely unspoken tension. [Read](https://www.eyeforfilm.co.uk/review/lady-macbeth-2016-film-review-by-amber-wilkinson)
- **The Skinny**, Josh Slater-Williams (★★★★): The review finds the film tense and darkly comic, with Florence Pugh’s performance as Katherine especially hypnotising. It also praises the contrast between the freedom of the rural landscape and the oppressive interiors. [Read](https://www.theskinny.co.uk/film/new-releases/lady-macbeth)
- **The Playlist** (70/100, inferred): The headline indicates a mostly positive but qualified verdict. It singles out the film as arresting while noting that the take on its antiheroine is imperfect. [Read](https://theplaylist.net/british-period-drama-lady-macbeth-arresting-imperfect-take-antiheroine-tiff-review-20160912/)
- **The Wrap** (30/100, inferred): TheWrap finds the film unmoving and increasingly muddled, despite Florence Pugh’s striking lead performance. It particularly faults Katherine’s abrupt transformation and the film’s failure to develop her inner life or motivations. [Read](https://www.thewrap.com/lady-macbeth-review-florence-pugh/)

## Details

- **Director:** William Oldroyd
- **Director:** William Oldroyd
- **Writer:** Alice Birch
- **Novel:** Nikolai Leskov
- **Cinematography:** Ari Wegner
- **Editor:** Nick Emerson
- **Music:** Dan Jones
- **Production design:** Jacqueline Abrahams
- **Costume design:** Holly Waddington
- **Producer:** Fodhla Cronin O'Reilly
- **Cast:** Florence Pugh as Katherine Lester; Cosmo Jarvis as Sebastian; Paul Hilton as Alexander Lester; Naomi Ackie as Anna; Christopher Fairbank as Boris Lester; Golda Rosheuvel as Agnes; Anton Palmer as Teddy; Rebecca Manley as Mary
- **Runtime:** 1h 26m
- **Certificate (CNC):** U
- **Release (France):** 12 December 2016
- **Genres:** Drama
- **Budget:** $500,000
- **Box office:** $5 million
- **Trailer:** https://www.youtube.com/watch?v=TubDRQQA3-k

## Where to watch in France

Not streaming, renting or buying in France at the last check.

Also available in: AT, BE, CA, ES, FI, GB, IT, MX, NL, NO, SE, US. Add `?region=XX` to this URL for another country.

## Awards

- European Film Award for Best Actress 2017: European Film Award for Best Actress (nominated)
- European Film Award for European Discovery of the Year 2017: European Film Award for European Discovery of the Year (won)

## If you liked this

- *Wuthering Heights* (2011): Andrea Arnold’s mud-and-wind Brontë, with the same contempt for pretty rooms.
- *La Cérémonie* (1995): Chabrol’s maid and postmistress take against a bourgeois house; nobody raises their voice.
- *Katerina Izmailova* (1966): The same Leskov story as Shostakovich’s opera, filmed in Soviet Russia with Vishnevskaya.
- *The Beguiled* (2017): Sofia Coppola’s Civil War schoolhouse, where the women in corsets are the danger.
- *The Piano* (1993), Fi1m 88: Jane Campion’s bought bride in colonial New Zealand, and what she does about it. — [Fi1m page](https://film.one/film/the-piano.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/lady-macbeth