Movie Review – Dad (2020)


Father, 2020.

Directed by Florian Zeller.
Starring Anthony Hopkins, Olivia Colman, Rufus Sewell, Mark Gatiss and Olivia Williams.



Anthony (Anthony Hopkins) lives with his daughter Anne (Olivia Colman) and her husband Paul (Rufus Sewell). Their relationship is loving but occasionally aching when the arrival of unfamiliar faces begins to spread this delicate domestic arrangement.


Florian Zeller’s director’s performance has something to simplify disarmament. With small spaces, subtle changes, and an underrated performance by Anthony Hopkins Father start with caution. The public is introduced to a domestic arrangement that invites domestic conflicts, misbehaves with simple compensation, and commits through an excellent lineup.

Anne of Olivia Colman is a less favored daughter of two who feels a moral obligation to care for a sick father. That her illness doesn’t show up right away, her vitriol is rarely kept under control and the associated contempt for her husband Paul blatantly doesn’t help things. Author and director Florian Zeller deals with nuances everywhere, relentless intonation and perspective from the very first moment.

Anthony and his failed mental abilities are rarely mentioned, but the symptoms manifest in an amazingly straightforward way. Using these wildly effective methods, the audience is immersed in Anthony’s uncertainty, confusion, and fear. Much of the power behind this film comes from a sense of insight for actors and audience members.


Old age comes to everyone and losing our sense of reality through subtle memory impairment is appalling. The fact that its debilitating effects can be described so accurately on the screen gives Father an inherent pathos to which only participants add. Playwright Christopher Hampton, who helped Florian Zeller adapt his original stage version, has dispelled all clues from his theatrical sources, making themes a priority.

As much as thanks may go to Anthony Hopkins and Olivia Colman, there is no denying the powerful parts played elsewhere. Mark Gatiss may never have applied his particular type of screen so effectively. At the same time soothing, but still so little off the clutch, he is both stationary and openly naturalistic in every scene. His reassuring words only anticipate the arrival of new disturbances. It’s a subtle performance that has been carefully considered and is more than what the main players give.

Olivia Williams is once again offering kind words, election promises and peace, which inadvertently upsets the status quo. The mere reaction in these moments and staying low instead of the key requires presence. Devastating moments of uncertainty are played through the eyes, while gestures are minor. Photographer Ben Smithard lets his camera linger in the doorway, waiting behind closed doors and ignoring the passage of time. Capturing someone’s mental instability through repetition, either in conversation or in motion, but keeping audiences engaged is a rare trick.


Similarly, production designer Peter Francis uses tricks in simple cameras to confuse, confuse, and mix equally. The series are manipulated, time becomes an abstract concept and a flat prison with each passing moment. The feeling of an unchanging routine that is penetrated by outside forces is due to the collaboration of the director and the production designers working together.

To say so Father is a unique experience, does not fully understand what has been achieved. This is an immeasurable force that everyone should experience once. It explores the weakness of humanity in a society where young people are increasingly valued rather than experienced.

Dad arrives at theaters in the UK on 11 Juneth.

Flickering myth rating – Movie ★ ★ ★ ★ ★ / Movie ★ ★ ★ ★ ★

Martin Carr

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