Published on April 3, 2026
There comes a point in every Oscar race where one of the frontrunner’s credentials gets called into question. Sometimes it comes in the form of someone raising concerns about the behavior of one of those involved in a particular movie. Occasionally, a contender’s artistic credentials are attacked—for instance, when it was revealed that the director of ‘The Brutalist,’ Brady Corbet, used AI in post-production to enhance dialogue authenticity. Often, skepticism arises from critics questioning whether the film is all it’s cracked up to be.
This year, two films have emerged as clear Best Picture frontrunners: Paul Thomas Anderson’s ‘One Battle After Another’ and Chloe Zhao’s ‘Hamnet.’ Zhao, who already boasts a Best Picture and Best Director award for ‘Nomadland,’ faces the challenge of managing expectations as Anderson has yet to win despite multiple nominations.
As awards season unfolds, however, a ‘La La Land’-style backlash against ‘Hamnet’ has taken shape, with some critics, particularly in the UK, branding it as manipulative and dismissing it as “grief porn.” This has raised questions about the film’s authenticity and emotional depth.
To provide context, ‘Hamnet’ delves into the tragic death of William Shakespeare’s son, Hamnet, and the profound impact it has on his family. Jessie Buckley delivers a powerful performance as Agnes Hathaway, Shakespeare’s wife, a woman drawn into his life romantic bond. Their relationship is fraught with societal expectations and familial disapproval, yet culminates in a deeply felt union that produces three children: Susanna, and twins Hamnet and Judith.
The narrative takes a heartbreaking turn when Judith falls ill with the plague, prompting Hamnet to bravely step in to aid her, ultimately sacrificing his life for hers. This loss shatters Agnes, leading to poignant expressions of grief and frustration toward Shakespeare, who remains away, focused on his rising career.
Zhao and co-writer Maggie O’Farrell have masterfully crafted a screenplay that captures the raw and complex emotions surrounding parental loss. Buckley’s portrayal of Agnes embodies the emotional gravity of grief, while Paul Mescal as Shakespeare navigates the tension between his familial obligations and professional aspirations. Their performances are complemented by a talented supporting cast, including Joe Alwyn and Jacobi Jupe, who add layers to the story.
Zhao’s direction shines through, employing a haunting mise-en-scène that accentuates the film’s themes of loss and distance between family members. Visually, the empty rooms and physical separations illustrate the emotional landscape of grieving parents.
Despite criticisms of manipulation in storytelling, portraying the agony faced a child is inherently challenging. Zhao’s ‘Hamnet’ emerges as a profoundly moving exploration of grief and resilience, culminating in a hopeful final act that reaffirms the film’s emotional resonance.
The impact of ‘Hamnet,’ regardless of its Oscar fate, is undeniable. It offers an experience that lingers—its intelligence and emotional power setting it apart in this year’s cinematic landscape. As with all the best films, it leaves viewers with a visceral experience that invites reflection and empathy.
‘Hamnet’ was released in UK and Irish cinemas on January 9, 2026.