Trin Bonner
An anemone is a flower that possesses meaning in Greek mythology, representing love and loss. Does love diminish loss, or fuel the torment? Ronan Day-Lewis attempted to address the question in his 2025 directorial debut film, “Anemone.”
As the 27-year-old son of renowned actor Daniel Day-Lewis, who co-wrote and starred in the film, Ronan Day-Lewis had high expectations to meet. Could he deliver a work of art that fit his father’s Academy Award-winning acting skills, and would it be a worthy enough film for him to come out of retirement?
The film is an expressionist psychological drama about overcoming trauma and repairing familial bonds, which sounds intriguing until you realize that the trailer editor may have done a better job of evincing emotion than the film itself.
Casting Daniel Day-Lewis as the lead was an effective move as he, after an eight-year leave, returned to deliver another incredible performance in his son’s debut film.
The built-up regret within Daniel Day-Lewis’ character, Ray Stoker, leaked through every wrinkle of his face. Ray constantly moves forward to brush off his past, forsaking a fun time at the carnival as self-punishment. If Ray did have fleeting moments of raw happiness, it showed.
Although, his initial cynical monologue about defecating on a man who offended him made a far more memorable impression than his internal conflicts. The other members of Anemone’s small cast are made difficult to judge because, frankly, their roles do not garner the same interest.
The first of two relationships focused on is that of Ray and his brother Jem Stoker, played by Sean Bean, who viewers may know as Boromir from the “Lord of the Rings” films.
For a film in which reconnection was supposed to be a focal point, Bean’s character seemed very underutilized. The story kicks off with Jem traveling into the wilderness to find Ray. He attempts to break him out of his hermit lifestyle so he can connect with his son, Brian Stoker, who is suffering from depression and an identity crisis rooted in his father’s abandonment.
Brian is supposedly the source of the story’s emotional weight, yet he becomes another victim of the director’s failure to balance substance and style.
Scenes of drunken dancing and swimming at a secluded waterfall illustrated the reestablishment of Jem and Ray’s relationship. However, there is limited context for the foundation of their bond. It is unclear how the audience can understand why Jem agreed to bring his brother home, given the limited explanation to support his decision.
Jem’s cautious behavior may have been more understandable if Ray’s background had been further developed. Ray’s history includes a neglectful father, post-war trauma, a strained relationship with the mother of his child and a loss of faith — all can potentially resonate with viewers. Yet, throughout the two-hour runtime, these elements remained under-explored.
The expressive elements in the film that replace the much-needed dialogue are more confusing than they are impactful. The luminous creature on the lake and the oversized sea bass from the trailer are eye-catching but out of place, taking up the time needed to explain the above.
Ben Fordesman’s cinematography will maintain what little interest the viewer has left. Scenes such as Ray in a dew-covered field of white anemones, standing in the oceans’ shallows under a thunderous vortex, or the campfire glow illuminating his and Jem’s faces remain striking.
“Anemone” is the product of an inexperienced director who ultimately expressed potential but failed to settle on an artistic direction in his debut film. If Ronan can keep the audience’s attention throughout the film, it is not due to its engaging storyline but rather the stunning filmography and his father’s overshadowing performance.
Reach Carlee Elders at entertainment@collegian.com or on social media @RMCollegian.