Chloe Zhao has had an interesting career thus far. Her second feature project, The Rider, put the director on the map, and the Oscar-winning Nomadland cemented her as a terrific storyteller. Eternals missed the mark with critics and audiences alike (not for this reviewer, however), and now she strives to come back swinging with Hamnet. Let's just say people better get the golden statues—and tissues—ready.
Not to confuse audiences, this isn't a new take on Hamlet but a retelling of Shakespeare producing the iconic play. This is adapted from the book of the same name, written by Maggie O'Farrell, which is a fictional account of the real story of Shakespeare losing his son, Hamnet, and how it inspired Hamlet. Zhao—and an impressive cast—have created an emotionally devastating experience that will make you feel the love and grief that the characters do.
Much of the runtime is spent on Will Shakespeare (Paul Mescal) and Agnes' (Jessie Buckley) relationship. Will is a young scholar who is the black sheep of his disapproving family, and Agnes a free spirit who spends most of her time in the nearby forest. In a world of arranged marriages for financial reasons, Will genuinely loves Agnes for who she is, and the pair tie the knot and start a family—much to the chagrin of both their families. After spending a huge chunk of time with Will, Agnes and their three children, we become part of their little family—watching them perform theatrical skits, explore the forest, and grow together. Which makes the inevitable tragedy all the more painful.
Zhao is a perfect fit for this story, showcased through Hamnet's spirituality. The gliding, almost ethereal camerawork present in Nomadland makes a return to capture golden streaks of light through tree tops and close-ups of faces full of history. It pairs with Agnes' own spirituality—she's often referred to as a witch due to her earthly connections—and eventually with the supernatural elements of Hamlet. This is a film set out not to necessarily make you think but feel. Life and death, and the love and grief that comes in between, isn't always quantifiable in words or statements. But in Hamnet, you'll know by way of experiencing it first-hand.
What sells Zhao's vision is the impeccable cast. Jacobi Jupe as little Hamnet is a revelation, and Mescal is once again terrific. Yes, it's easy to make a meme out of his ‘sad dad' typecasting, but this is a Shakespeare portrayal unlike any other. He harbours rage that spools out when grieving, but has childlike wonder and imagination—especially when spending time with Agnes or his children. But Hamnet belongs to Buckley, who does career-best work. An undisputedly Oscar-worthy performance, she effortlessly portrays Agnes' headstrong attitude, the love for those closest to her, the grief and anguish of losing a child, and the release that comes with processing that grief. Her eyes in the final scenes alone will break the heart of any audience member.
It's that final section, however, that prevents Hamnet from being something truly special. Watching Agnes connect with Hamlet as it is performed is magical, but Zhao slightly overdoes it when the entire crowd ends up physically bonding with the play. The biggest crime is the use of a particular track at the very end of the film. Max Richter provides yet another stunning score throughout Hamnet, but the reliance on his most popular track during the finale makes it seem Zhao is forcing emotion from the audience when it's not needed.
Thankfully, it's not enough to diminish everything else the film does right. Hamnet is an emotional rollercoaster that will stir your soul, making you appreciate not just your loved ones but art too. Tapping into the most universal of feelings, you'll almost forget that this is a story about the world's most famous writer.
Hamnet screened at the 2025 BFI London Film Festival and will release in cinemas on 9 January.
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