I t has been eight long years since Daniel Day-Lewis last graced the screen, after the filming of 2017’s Phantom Thread left him “overwhelmed by a sense of sadness”. Retirement, it turns out, was more “ retirement ”, an extended bit of rest and recuperation for another gauntlet. Anemone, the three-time Oscar winner’s quote-unquote comeback film and the feature directorial debut of his son Ronan Day-Lewis, is an even less sunny experience. (At least for the viewer; Day-Lewis has described filming with his son as “beginning to end, just pure joy to spend that time together with him”.) In fact, it’s gray-skies-only for the film’s plodding two hours, the better to hammer home the point of roiling disquiet within, to quote the logline, “the complex and profound ties that exist between brot

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