Few films in recent memory have sparked as much conversation, debate, and raw emotion as Chloé Zhao’s adaptation of Hamnet, which has swept into cinemas with both critical acclaim and pointed criticism. Based on Maggie O’Farrell’s celebrated 2020 novel, Hamnet delves into the imagined private lives of William Shakespeare and his wife, Anne Hathaway—referred to as Agnes in the film—against the backdrop of the devastating loss of their young son, Hamnet, to the plague.
The film, clocking in at just over two hours and rated 12A, has already made waves with six Golden Globe nominations and a Critics’ Choice award for Best Actress awarded to Jessie Buckley for her portrayal of Agnes Hathaway. Paul Mescal stars as Shakespeare, bringing to life a character whose inner world has remained largely a mystery to historians and audiences alike. The supporting cast, including Joe Alwyn as Agnes’s brother Bartholomew and the Jupe brothers—Jacobi as Hamnet and Noah as Hamlet—round out a film that is as much about familial bonds as it is about grief and artistic legacy.
According to the Daily Mail, the film is “an exploration of love and grief,” capturing the heartbreak and resilience of a family shattered by loss. The review highlights the film’s enchanting storytelling and emotional transcendence, stating, “If he doesn’t break your heart, then the appearance of his real-life older brother, Noah, playing the title role in the film’s climactic performance of Hamlet at the Globe Theatre, certainly will. Take tissues, lots of them.” The reviewer lauds Buckley’s “wonderful” performance and Mescal’s “cleverly judged support,” emphasizing the exquisite casting and acting throughout.
Yet, not all critics are equally enthralled. In a sharply worded piece published on January 12, 2026, The Guardian contends that Hamnet is “a blunt spade designed to whack you over the head until you weep from the pain.” The article accuses the film of emotional manipulation, arguing that its creative choices lack subtlety and that its approach to grief is heavy-handed. “Hamnet is not a film made up of intelligent choices,” writes the critic, pointing to the film’s overt references to Shakespeare’s works and its use of Max Richter’s “On the Nature of Daylight” as examples of its blunt force approach to emotion.
Both reviews agree on one thing: Hamnet is a film that elicits a powerful emotional response. At screenings, audiences have reportedly been left sobbing and clutching one another in the dark, a testament to the film’s ability to tap into universal feelings of loss and love. But is this emotional impact a sign of great filmmaking or simply the result of calculated manipulation?
The debate is complicated by the film’s relationship to its source material. O’Farrell’s novel is a nuanced, introspective work that refrains from naming Shakespeare and instead centers the narrative on Agnes’s inner life. The film, by contrast, places the Bard front and center, with Mescal’s Shakespeare serving as both grieving father and emerging playwright. Zhao and O’Farrell, who co-wrote the script, have taken “considerable liberties with her own text,” as The Guardian notes, incorporating direct references to Shakespeare’s plays—sometimes to the point of what the critic calls “IP-dependent cringe.”
These allusions are not mere window dressing. The woodland setting evokes A Midsummer Night’s Dream, the twins’ playful cross-dressing nods to Twelfth Night and As You Like It, and the children’s reenactment of the witches’ scene from Macbeth foreshadows the tragedy to come. The film even provides an origin story for the iconic “To be or not to be” soliloquy, weaving Shakespeare’s future works into the fabric of his personal grief. As the Daily Mail points out, these thematic references add layers of meaning for viewers familiar with the Bard’s oeuvre, though some critics argue they risk turning the film into Shakespeare fan fiction.
Jessie Buckley’s portrayal of Agnes is at the heart of the film’s emotional journey. She is depicted as “an almost feral creature, the ‘daughter of a forest witch’ who skives off from her farm chores to fly her beloved hawk and lie curled up in the embrace of tree roots,” according to the Daily Mail. Buckley’s performance, which has already been recognized with major awards, is described as “committed” and “powerful,” though The Guardian criticizes the script for reducing her character to surface-level theatrics. “Her strength as an actor… has always been her subtlety… Her Hamnet performance, in contrast, is heavy-handed. But the Oscar has already been engraved,” the review quips, suggesting that the film’s awards momentum may be more about its emotional punch than its artistic finesse.
Paul Mescal’s Shakespeare is introduced as a young man reluctantly working as a Latin tutor to repay his father’s debts—a far cry from the legendary playwright he would become. His courtship with Agnes is depicted as both passionate and fleeting, with their romance quickly giving way to the responsibilities and sorrows of parenthood. The couple’s three children—Susanna, and the twins Hamnet and Judith—are central to the film’s portrayal of family life, with the loss of Hamnet serving as the narrative’s emotional fulcrum.
The film’s score, featuring Max Richter’s “On the Nature of Daylight,” has also drawn mixed reactions. While some viewers find it hauntingly beautiful, others, like The Guardian’s critic, see it as emblematic of the film’s lack of subtlety. “Everything is telegraphed, everything is shown, subtext is a foreign thing. No scene pauses to let you absorb what’s happening,” the review laments, arguing that the film’s approach to grief is too direct, leaving little room for the audience to process their own feelings.
Despite these criticisms, there is no denying the film’s impact. Its lush cinematography, evocative performances, and willingness to grapple with the complexities of love and loss have resonated with many viewers. The film’s awards recognition—including six Golden Globe nominations and a Critics’ Choice win—suggests that its approach, however divisive, has struck a chord with industry insiders as well.
Ultimately, Hamnet stands as a testament to the enduring power of storytelling, even as it raises questions about the line between authentic emotion and manipulation. Whether one leaves the theater moved to tears or rolling their eyes, the film refuses to leave its audience unmoved—a rare feat in today’s cinematic landscape.