By MARK TULLIS

for the Republic-Times

Chloé Zhao has always had this uncanny ability to make nature feel almost otherworldly, like the wind or the trees are characters in the story. It’s something she did beautifully in “The Rider” and “Nomadland,” and even in “Eternals,” which not everyone loved but still carried her signature touch. With “Hamnet,” she leans into that talent again, and the result is a film that feels dreamy and earthy at the same time—sometimes more like a sensory experience than a traditional narrative.

Based on Maggie O’Farrell’s novel, the movie imagines the home life of William Shakespeare and his wife, Agnes, and how their family is shaped—and eventually broken—by the loss of (spoiler alert) their son, Hamnet. While researching the background of this film, I heard it had a reputation at festivals for leaving audiences in tears; I fully prepared myself to be an emotional mess. Oddly enough, the film hit me more through its atmosphere than its big moments of grief. Still, parents watching this movie will be gripped by the pain the parents go through dealing with life, death, and the deep, often overpowering love they have for their offspring.

The opening alone immediately draws you in the magical quality that surrounds the characters: Jessie Buckley’s Agnes curled beneath a beautiful and almost make-believe-looking tree as the forest above and beneath her seems to communicate, celebrate, and nurture her. Working with cinematographer Łukasz Żal and composer Max Richter, Zhao makes us wonder if Agnes may be from another place: she is said to be the daughter of a forest witch, and honestly, the movie makes you believe it.

Buckley is astonishing here. I first noticed her when she played the younger version of Olivia Colman’s character in “The Lost Daughter,” and she’s only become more magnetic with each role. She acts with her whole body—every movement feels deliberate and lived-in. Paul Mescal matches her beautifully as Will; he’s soulful, expressive, and seems to shift through emotions without ever forcing it. I’d bet real money both he and Buckley end up with Oscar nominations this year.

The supporting cast is stacked too. Emily Watson shows up as Will’s prickly mother (always great to see her—Breaking the Waves and Hilary and Jackie are still unforgettable). Joe Alwyn plays Agnes’ brother with an easy warmth. And Jacobi Jupe, as Hamnet, is simply heartbreaking. He’s so natural and affecting that I wouldn’t be shocked if he lands a supporting actor nomination. His older brother, Noah Jupe, appears later as the actor playing Hamlet, and the choice adds a subtle emotional punch. We are left asking and actually seeing the “what might have been?”

It is quite possible to say that the movie becomes a little overly done following the death of Hamnet, as if the actors may be using this moment to really chew the scenery. However, I think things eventually were brought back beautifully by the ending scenes in Shakespeare’s Globe Theater; back to a focused and nuanced environment (from both the actors on stage and the audience) and with a wonderful montage of shots that showed us how powerful theater can be. I am certain there will be a resurgence of interest in the old Bard of Avon after this movie is shown.

Even with a tad bit of the acting being a tad bit over the top, “Hamnet” is beautifully made. The direction feels confident, the score enhances every moment, and the cinematography is stunning. It’s the kind of film that stays with you—not just because of what happens, but because of how it feels. I wouldn’t be surprised if people call it the best movie of the year.

Go see this movie on the big screen. It is truly an epic.

My grade: A

Hamnet opens in theaters Friday, December 5 and stars Jessie Buckley, Paul Mescal, Emily Watson, and Jacobi Jupe. The film is rated PG-13 for brief nudity and runs 126 minutes.