23 January 2026
HAMNET ****
What is a perfect film? To begin with, one feels that singular calm which comes in the presence of greatness. You’re in the right place and can sit back and let it flow over you. You slowly realise it is one of the finest films of the year. One that you will not forget for all its magnificent cinematography, its brilliant scenario, its flawless acting and the gentle revelation of its true story, despite its artistic deviations.
With a name like that, of course it’s about William Shakespeare, for that was the name of his only son. Hamnet, Hamlet – both the same name.
And then, how can it fail with the delicate touch of the Chinese-born director, Chloé Zhao (Director’s Oscar for her 2020 “Nomadland”), plus being co-produced by such talents as Steven Spielberg and Sam Mendes. The scenario is co-written by Zhao and Maggie O’Farrell, based on O’Farrell’s 2020 novel of the same name. And the two main roles are intensely inhabited by Paul Mescal and Jessie Buckley, both already crowned with various awards coming up to the Oscars, while young Jacobi Jupe enchants as Hamnet.
The beauty of this work is its lyrical telling of the love story of the Bard and Agnes Hathaway, her mystical rapport with nature and the forest around them, and their marriage which produced three beloved children. Incredibly intimate, one almost forgets the greatness of Shakespeare’s works until the ending where it all comes together with astounding force in Hamlet’s famed soliloquy. Simply overwhelming.
DIAMANTI *** (vo Italian)
This dense, wonderfully melodramatic tribute to women by the Turkish/Italian director Ferzan Özpetec is like a whirlwind of strong femininity. Somewhat reminiscent of Almodovar’s “Women on the Verge of a Nervous Breakdown”, it’s done as a film within a film, as the director gathers his female cast at a bounteous outdoor luncheon where he tells them of his plan for the film that we are to see.
From there it glides into this tale about an atelier for costume design and the various women who work there. There are the two sisters who run this high fashion atelier (including the beautiful Jasmine Trinca), each with secret pasts of their own. There’s a woman who has to bring her son to work, hiding him in a secluded corner, with his big innocent eyes which can break your heart. Another one loves her work but is terribly fearful of going home to her abusive husband. And the wonderful, buxom homemaker of the crowd who feeds and takes care of these individual females, each with their own glories and burdens. Here’s a magnificent microcosm of women in constant motion, building up to explosive moments and then some satisfying answers to their very existence.
Özpetec, this oriental Italian director, knows women well and has given them here a lovingly colourful homage.
THE WIZARD OF THE KREMLIN (Le mage du Kremlin) **1/2
Now here is an essential film to see, for it’s about the coming to power of Russia’s Vladimir Putin. And about his right-hand man, the fictionalised wizard in the film, who may be based on the real artist-turned-politician, Vladislav Surkov, a close associate of Putin’s. The film, directed by French director Olivier Assayas, is based on the 2022 novel “Le Mage du Kremlin” by Giuliano da Empoli.
Paul Dano, usually a strong actor, plays here the so-called Wizard, but I found his interpretation of this main character weak and unconvincing. The one who brings life to this exciting saga of Putin’s rise is Jude Law, who has literally turned himself into Putin’s character and demeanour. Dano’s performance is pale, Law’s is brilliant, and the fact that the two main characters are portrayed so unevenly is the flaw of the work.
But the film is nevertheless important and fascinating in its depiction of the years leading up to the dangerous enigma we witness today. And the last scene tells its own cautionary tale.
L’AGENT SECRET **1/2 (vo Portuguese)
Strangely enough, this film which neither impressed nor remained in my memory as an exceptional work, has received the Best Foreign Film (amongst far finer works) and Best Actor awards (amongst far stronger performances) for Wagner Moura at the recent Golden Globes. It was also a double winner at the Cannes film festival.
Taking place in 1970s Brazil, this lengthy political thriller follows Moura as a supposed former secret agent. One is not quite sure of his intentions, except that he is hiding out, as it seems he has a price on his head. The film, directed by Kleber Mendonça Filho, meanders between various characters and events and never quite lets us know all the facts, but then it’s set in the time of a vicious dictatorship, where fear and lawlessness reigned. The whole film feels murky in my mind, but critics seem to have snowballed it into greatness. Who says life is fair or awards season, for that matter…?
Superb **** Very Good *** Good ** Mediocre * Miserable – no stars
By Neptune
Neptune Ravar Ingwersen reviews film extensively for publications in Switzerland. She views 4 to 8 films a week and her aim is to sort the wheat from the chaff for readers.
For more stories like this on Switzerland follow us on Facebook and Twitter.
Leave a Reply