Hamnet Review

We have been told Shakespeare’s story countless times, the Bard presented to us in every conceivable way. It took me ten, perhaps fifteen minutes to realize that this film was not about the myth, but about the man—I must confess, the "Hamnet" and "Hamlet" connection had initially escaped me. By the time the truth dawned on me, I was already settled in my seat, nestled tightly between two couples, my coat, purse, and small Coke in hand. I was locked in. And thankfully, I stayed for the whole thing.

Directed by Chloe Zhao and adapted from Maggie O’Farrell’s titular novel—with the screenplay co-written by O’Farrell and Zhao herself—Hamnet is a revelation. Set in Tudor England, the film stars Jessie Buckley and Paul Mescal, two of the brightest young talents working today. It tells the love story of Will Shakespeare and his wife, Agnes, tracing the births of their children and the profound loss that would ultimately inspire his masterpiece, Hamlet.

Buckley plays Agnes, the eldest daughter who retains the wildness of her deceased mother. She is a creature of nature, introduced in a hollow at the base of a tree, womblike and serene. With a pet hawk and a knowledge of herbs, she is rumored in town to be a witch. Mescal’s Will is a wandering Latin tutor, adrift under the thumb of a domineering father and an aloof mother. He is instantly captivated by Agnes—by her behavior, her wildness, her esoteric nature. So much so that he is accused of being bewitched. Their relationship feels strikingly modern, unburdened by the stilted manners and repressed emotions that often stifle historical dramas. Here, siblings are close, couples kiss passionately, and parents fight with their children—the same we always have.

Zhao imbues the picture with her signature tenderness, an unparalleled ability to translate the human experience across any era and make it feel immediate. She directs like a conductor, guiding the elements of performance, cinematography, music, and pacing with a graceful swiftness, allowing them to find a natural, complementary flow. Partnering with The Zone of Interest cinematographer Łukasz Żal, she crafts a visual tone that shifts from the composed distance of an Elizabethan painting to the lush, fleshy intimacy of a Baroque Rubens. The camera moves between characters and the natural world in a way that has become indicative of Zhao’s style, emphasizing their deep interconnection. Shots of trees swaying in the sun, a figure moving beyond a veil, arms outstretched for a hand they can never touch—it all feels both magical and grounded, human and transcendent.

Beyond the wonderful performances and direction, the film is a technical marvel. Max Richter’s score is remarkable, while the costume work by Małgosia Turzańska and Fiona Crombie’s production design coalesce into a fully orchestrated piece.

Zhao’s most significant achievement, however, is how she frees Shakespeare the man from the idol. We are so accustomed to viewing him as the patron saint of writing that we rarely glimpse the person he must have been: imperfect, flawed, disappointing, and at times pathetic—as we all can be. It is precisely this humanity that allowed him to write such brutally human stories. Zhao unwraps the mythos to lay bare the person, divorced from success and glory. All we see is the man, the husband, the father, the son. In a world of online personas and avatars, it is both odd and profoundly comforting to see a historical giant rendered with such refreshing clarity. Zhao’s gift for softly taking figures by the hand and coaxing them before an audience, all so we might understand ourselves better, is one that cannot be overstated.

Bring your tissues.

5/5 Hawks!

Hamnet comes to theaters in a limited release November 26th and wide release December 12th.