When Kate Winslet, a name synonymous with powerful on-screen performances, steps behind the camera, expectations naturally soar. With her feature directorial debut, Goodbye June, Winslet delivers a deeply personal, quietly devastating family drama that’s already sparking conversation far beyond its Christmas setting. Released on Netflix on December 24, 2025, and in select UK cinemas, the film marks a significant milestone—not only for Winslet but also for her son, Joe Anders, who penned the script. According to The Indian Express, Winslet’s directorial effort is "a warm family drama that lacks depth," yet its emotional resonance is hard to ignore.
Set in the days leading up to Christmas, Goodbye June follows the Cheshire family as they gather at the hospital bedside of their matriarch, June, played with sharp wit and grace by Helen Mirren. June is in the late stages of cancer, and her prognosis is grim—there are days left, not weeks. The film wastes no time in pulling viewers into the family’s world, opening on an ordinary morning that quickly unravels as June collapses and her son Connor (Johnny Flynn) rushes her to the hospital. The rest of the family—Julia (Winslet herself), Molly (Andrea Riseborough), Helen (Toni Collette), and their father Bernie (Timothy Spall)—soon follow, each bringing their own baggage and unresolved tensions.
The family dynamic is as messy as it is relatable. Julia, the hyper-competent middle child, juggles her own family’s needs while acting as the clan’s financial safety net. Molly, the youngest, is fiercely protective of June and carries a long-standing grudge against Julia. Helen, the eldest, lives in Berlin and is emotionally distant, while Connor, the youngest and only son, is overwhelmed by the looming loss. Bernie, meanwhile, initially appears checked out—his "stiff-upper-lip" demeanor masking a deeper denial and pain. As ScorpioLikeYou describes, this is a family "living in the mess of family, loss, and the stuff people don’t say out loud."
One of the film’s most poignant choices is its early Christmas celebration. With June’s health deteriorating rapidly, Bernie suggests moving Christmas up by a week so she can experience one last holiday with her family. The family transforms an empty hospital ward into a makeshift holiday haven, complete with lights, props, and a nativity pageant starring the grandchildren. They sing "Silent Night" together, and in this gentle, loving chaos, June quietly slips away—"held by her people," as the review puts it. The moment is neither melodramatic nor manipulative; instead, it’s a culmination of the film’s central message about being present while you still can.
Winslet herself has been clear about the film’s intentions. In an exclusive interview with AOL, she explained, "I did love the fact that our film is set at Christmas. Actually, some people are describing it as a Christmas film, [but] to me it's not a Christmas film at all." She emphasized that the story’s themes—grief, family dynamics, and the universal struggle to let go—transcend the festive backdrop: "I do think it's the kind of film that we could have released in May and still have that same poignancy for people who have gone through similar situations or who come from families that have complicated dynamics which, let's face it, so many families do." The Christmas setting, she adds, simply provides "this in-built clock ticking as the days are passing and we're ramping towards this big event."
The film’s emotional core is bolstered by its ensemble cast. Mirren’s June is sharp and unembarrassed, facing her mortality with a blend of humor and candor. Winslet brings a brittle vulnerability to Julia, while Riseborough and Collette round out the trio of sisters with performances that are alternately combative and tender. Timothy Spall’s Bernie, however, delivers one of the film’s most memorable moments. As reported by Digital Spy, near the end of the movie, Bernie—having been accused by Connor of indifference—heads to a pub and takes to the stage for a karaoke performance of "Georgia On My Mind." In a heart-wrenching twist, he substitutes "Georgia" with "Junie," paying tribute to his wife in a moment that lays bare his hidden grief. Spall described the scene as a "gift," explaining, "You don't really know what [Bernie's] thinking half the time because he throws up a smoke screen of buffoonery, so when you see this pure song, this thing that's not specific particularly, all you do know that his wife likes it, [you know] there's something more than a song." Toni Collette, who witnessed the scene, admitted, "When he goes from singing Georgia to Junie I just collapsed in the cinema."
Despite the film’s heavy subject matter, there are glimmers of reconciliation and hope. The siblings, forced into close quarters, confront old wounds and long-standing resentments. Molly and Julia finally air their grievances, with Molly admitting she once idolized Julia before resentment took over. Helen confides in Julia about her pregnancy and her struggles, and Connor finds solace in a quiet goodbye with June, reading her e.e. cummings’s "if there are any heavens." Even Bernie, initially emotionally distant, returns to June’s side as a loving partner before her passing.
The film concludes with a time jump: one year later, the family is together for the holidays again. June’s letter to Helen’s child is heard in voiceover, offering a kind of emotional will: "Good memories help you love forever, just like me." The message is clear—the true inheritance is not material possessions, but the relationships and memories that endure.
Winslet’s direction is subtle, letting the performances and script take center stage. The Christmas setting, with its "beautiful" lights and "fabulous" tinsel, as Winslet described to AOL, adds a layer of warmth that contrasts with the film’s somber themes. The supporting cast—Stephen Merchant, Fisayo Akinade, Jeremy Swift, and Raza Jaffrey—round out an ensemble that brings authenticity to every scene.
While some critics, like The Indian Express, found the film "lacks depth," others have praised its raw honesty and emotional impact. The film’s ability to capture the complexity of family relationships, the messiness of grief, and the bittersweetness of letting go has resonated with audiences and critics alike. As for Winslet, her transition from actor to director seems as seamless as it is heartfelt, and Goodbye June stands as a testament to her storytelling prowess—both in front of and behind the camera.
For those seeking a film that captures the pain and beauty of saying goodbye, Goodbye June offers a gentle, if sometimes wrenching, reminder of what matters most when time is running out.
