The life of William Shakespeare is once again explored in this film, but in this movie, the focus is on the playwright’s wife.
Agnes Shakespeare, portrayed by Jessie Buckley, is introduced as a young woman in “Hamnet” when she first meets William (Paul Mescal). Following a short courtship, the two conceive a child and choose to get married.
The movie then picks up with the couple having a family, including two daughters and their son, Hamnet (Jacobi Jupe). As the film goes on, William and Agnes lose Hamnet to the plague and are left in a state of grief. The situation is made even more stressful as William is away from the family in London to write.
Chloe Zhao is adept at portraying characters experiencing taxing times as they navigate grief. It was true with “The Rider” and “Nomadland,” and it’s true again with “Hamnet.” As is Zhao’s style, the film has a soft observational approach, allowing the drama taking place to be humanized and the lives to feel actually lived in.
With a great deal of artistry, Zhao lets the characters just exist, capturing the ups and downs life throws at them. The downs are visceral, too, such as the time when Agnes is delivering her children, or when the family is trying to treat severe illnesses. There’s a compassion in the way Zhao approaches her characters and subject matter, resulting in meaningful moments.
Where the film unfortunately runs into some issues is in how things are timed to unfold. The way the film paces itself in portraying the initial courtship, the birth of the couple’s children, the raising of their kids and the later tragedy feels off. There’s a sense the amount of time dedicated to certain parts could have been distributed better.
The way the film is paced not only makes it hard to fully connect with what’s taking place at times, it also results in the film narratively drifting. There are times the movie somewhat meanders, particularly in the second half. It’s understandable that Zhao wanted to play things looser with the story to capture the raw emotions, but it seems a tad more structure would have been a plus.
While these matters keep “Hamnet” from being at the level of Zhao’s superb “Nomadland” from 2020, it’s still definitely a good film at the end of the day, and a big factor in that is Jessie Buckley. She’s already shown her abilities in the likes of “I’m Thinking of Ending Things,” “The Lost Daughter” and “Women Talking,” and this is another example of her talent.
Her portrayal of her character falling in love, her nature as a mother and how she navigates tragedy is highly impressive. Mescal is also fantastic as Shakespeare. This is a grounded portrayal of the artist, and while his talent is still on display in key scenes, the audience gets to know him more as a husband and father. Mescal pulls it off.
The look of the film is also strong. Zhao partnered with cinematographer Łukasz Żal, who’s done phenomenal work in the past on the likes of 2018’s “Cold War” and 2023’s “The Zone of Interest.” His efforts are praise worthy this time, too, with intimate, gentle camerawork that beautifully captures the life of this family.
There’s plenty in the favor of “Hamnet.” It’s a finely made period piece with very good acting, exceptional direction and cinematography worthy of praise. However, the way the film plays out for its entire runtime create a bit of a disconnect in the viewing experience. 3.85 out of 5.
Matthew Liedke on Film 
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