This article contains spoilers for "Anemon".

The buzzing around the "anemone" came from the film, as the official return of Daniel Day-Louis, in action by his self-pressing retirement in 2017, with His latest feature is Paul Thomas Anderson's "phantom thread". With any other measure, getting another performance from the Academy Award Award is the cause of celebration. Despite acting in Anemone, Daniel also co-wrote the script with his son Ronan Day-Louis, who makes his characteristic directorial debut here. /The film, Ereeremi Mataai, praised Daniel's play in his review, despite believing "Anemone" signifies a promising first step in the right direction for Ronan as a director. Directors are always born for the first time with the weight of expecting their inaugural environment, as they often work in the limited resources they have. In the case of Ronan, he has a $ 35m budget, studio support and one of our biggest living actors in the center, yet Anemone plays as an expensive student film.

Experimental in nature, "Anemem" wants to establish itself as a visual tract of the melancholy covered that attracts the complained man, but still never feels like escaping from the conceptual phase. Even Daniel, who gives an admirable performance, is unfortunately left to hover in a film that feels at best covered at best. His metaphors for rumors of the past are nothing but abstract, with Bobby Krlic's overwhelming rating neutralizing any potential nuance. I progress at slow cinema, but Ronan is struggling to cause emotional weight through Ben Fordesman's lively cinematography. Knitted in long monologues and tumultuous silence is ultimately a story of a man filled with shame, and the lengths of which he is tied to.

Family relationships are at the forefront of Anemon, with one of the two brothers the most prominent. Emem Stoker (John Bean) has been moved from a sense of personal divine purpose and travels to the northern English village to make changes with his alienated rays of brothers and sisters (Daniel Day-Louis), whom he has not seen for more than 20 years. Ray's cab appeared in looks like something outside the movie "Evil Dead", which makes sense as it is intended to visualize the mosque rot of his exile. In a way, it reflects Daniel's isolation from the acting sphere for almost a decade now. The arrival of EMS is not filled with contempt or open hands, as much as apathy. Whether it's in the cabin, a bar, or in nature, the couple spends most of the movie in a quiet company, with EMEM acting as a current listener. /Bill of the film, Bria, praised the subordinate performance of Bean, especially as a secret weapon of Anemon.

It was revealed during the film that Ray gave birth to a child named Brian (Samuel Utalali) with 911 operator NESA (Samantha Morton), and then left them to live alone in his secluded Mosi, staying with his own thoughts. EMEM feels personally obliged to make up for his brother's mistakes with NESA and is Brian's stepfather. Despite stepping to fill the family gap, EMEM feels forced to bring his brother home after spending so much time because he feels that Brian needs his father to lead him during a rough period in his life. It is becoming clear that Ray's defense has many feelings that keeps them bottled for most of his life, as he avoids taking responsibility for leaving the family. When the quiet hermit Whether Speak, he does it through a series of revealing monologues.

Ray breaks the unpleasant silence with a vulnerable monologue for his unification with the pedophilic priest who abused him as a young boy. It turns out that Ray attracted the pastor to his place many years later, but was not recognized. He later brought revenge by seducing him, followed by the release of a powerful Curry, Guinness cocktail and many laxatives all over his face. It shows the limbs that Ray is ready to go to solve his internal conflict rather than, say, going to therapy. Daniel's delivery walks that balance of empathy and uncomfortable laughter. However, the highest insight into this character arrives at the end of the film, where he reveals the degree of his emotional turmoil.

Ray, once known as an "invisible man", served in the British military in the middle of a conflict of problems in Northern Ireland. One day, he witnessed the bombs maker in the IRA and his teen student accidentally blew himself into pieces. By having a pain -based apprentice, Ray puts the child out of his misery with a rifle. But because he was alive and unarmed when the murder occurred, he was considered a war crime and led to his discouraging discharge. Ray claims that he really doesn't know why he did it, but still bothered him. We are shown a long children's tapestry at the top of the film showing bombings, flame and sprayed bodies all over the place. However, there is a great deal of irony in how the "anemone" visually prescribes the effect of militarized violence against the human soul when these characters find it difficult to feel.

After Ray is a shame for his militaristic offense, he encounters a strange, bright figure near the water. It looks like a horse as if he was drawn by a small child. The closer it approaches it, the more it begins to grow extensions like internal organs moving in their body, distorted face and genitals. In an interview with ScreenrantRonan talks about how the creature was something that turned into his mind and is open to any interpretation of what it means. I tend to read it as this merger of lost innocence that is reflected in Ray. He drowned himself in his sorrows to the point that he was reflected back to him through a waterway Doodle Brian would probably be drawn as a child; Therefore, he partially sees himself and in him. Kinematically, it speaks of the bigger problem in the center of Anemon.

Fordesman's cinematography is a mood and mood, with oppressive darkness hanging over the whole film. It is wonderful in the sense that it has not been shown in the established way, so much as surrealistic. The many abstractions of the film, such as a floating mutant fish, is glittering, it is obvious that Ray's inner shame, which are more terrible than they influence. "Anemem" becomes trapped in a repetitive pattern in which his visual becomes tired and, frankly, boring to look. To make matters worse, Ronan ends his directorial debut with a sequence that feels like such a rookie mistake.

While the troubled Brian sits in his bedroom, a piece of baseball -sized city on his bed. What is going on is a Bible -scale city that appears out of nowhere. Each character stops what they do to witness the deadly lowering of shock and horror. Emem and Ray turn to the same time, leading the latter to seek forgiveness and return with the Emem. Unfortunately, the city's storm that encourages Ray to leave his isolation is probably the worst sequence of the film because it causes a much better film in PTA's Magnolia mask.

In PTA's film, the frog storm is the only surrealist flowering in a film about how there are no coincidences. It is violent and more importantly, a confusing break that knocked out every character in its widespread ensemble outside their funk. A key difference between "Anemone" and "Magnolia" is that PTA's storm is a shocking development, while Roman arrives on time. Not so much shock comes, given the abrasive result of film and darkness it is clear that it is being built for some kind of explosive development. Everything we stayed at the end of Ronan's film is a quiet moment between Ray and Brian on the doorstep. All that was important was to get Ray to return to your family and left to them whether he was accepted back or not.

Unfortunately, Ronan is just as excavated by his concepts as Ray of his son. I am glad that something as experimental as "Anemone" publishes the main studio, although it is more the question of Daniel at the forefront of the meanderic and terribly boring debut.

Anemone is now playing with limited release, with national level on October 10, 2025.