First, as a public service announcement, this is how you actually pronounce the film’s name, it’s [uh-nem-uh-nee], which by the way is a flower in the buttercup family. And speaking of family, the Day-Lewis clan is heavily featured with Daniel returning to the big screen after a long layoff (his last film work was over seven years ago) and son Ronan who contributed as director and co-writer along with dad. The concepts and sense of self are all very much in the thoughts of the oppressed and their oppressors.
The film is beautifully crafted with an amazing visual aesthetic. The drone shots are particularly impressive at establishing the out in the wilderness feel. The sound design is also noteworthy, as no matter how lush and green the visuals are, there is an edginess imparted through the music used as the film score. It is noisey post-rock in nature and emanates almost entirely from the side speakers in the cinema. This acts to never lets you relax into mere travelogue mode.
The story revolves around themes of family, duty, guilt and the awful misuse of power by the church (you know which one). It is also an acting tour de force with Daniel as Ray Stoker going toe-to-toe with Sean Bean as his brother Jem. When they reunite after years apart, they dance around the awful facts that make up their past as they head towards the inevitable clash. This brutal brawl erupts near the film’s end. All of their life details are revealed conversationally, and you hang on every word and physical nuance. There are also a number of fantasy scenes where you are left alone to find meaning.
There is a mastery at work here that requires attention and empathy and rewards those who look for more than surface entertainment in their film-going ethos. The technical aspects are sublime, as are the acting chops on display and the solid writing through out. This is not a work that you can casually approach; you need to be all in, and if you are, it is one of this young year’s most rewarding pleasures.
Rob Hudson
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