To maximize their chances during awards season, movie studios will often delay the release of their top contenders until the end of the year. As a result, some movies premiere at film festivals an entire year before limited or wide releases to general audiences. It can be frustrating when critic circles gush over movies that no one has access to for several months—we get it, you’re paid to watch movies—and in the case of The Father, they were absolutely right. Screened at festivals in early 2020, the rumblings of stellar performances in this somber family drama have since led to an impressive awards run, concluding in six key nominations at the Oscars later this month.
The Father is based on the French stage play Le Père by Florian Zeller, who also co-wrote and directed the film. Stage-to-screen adaptations can feel flat, but the experience of The Father is elevated by a play’s tendency to limit the production to one or two locations. For those unfamiliar with the plot, I’ll reveal as little as possible; the less you know about the movie’s general conceit, the more impactful it is. The story centers on the aged Anthony (played superbly by Anthony Hopkins), who struggles in his relationship with his daughter, Anne (another fantastic performance by Olivia Colman). Zeller has constructed a story that places the viewer completely in the mindset of Anthony. Zeller takes advantage of the similarity of the locations to cleverly denote the passage of time and play with the audience’s expectations. Films like Memento or Black Swan came to mind—not because The Father in any conceivable way resembles an unnerving psychological thriller, but because every element of the production limits (traps?) the audience into experiencing the world entirely through Anthony’s perception.
But those filming techniques would just be empty gimmicks without solid performances investing us in the character drama. There’s not a wrong note among the cast. Hopkins once again demonstrates his bonafides as one of Hollywood’s finest living performers. His is a curious career: after decades of solid, impressive work, Hopkins became a household name at the age of 53 with his iconic turn as Hannibal Lecter. (Fun fact I just learned: The Silence of the Lambs came out on Valentine’s Day.) He also isn’t above taking roles for a paycheck. He reportedly made a cool $5 million for a few minutes of screentime in the second (and worst) Mission: Impossible film, and also coined the term N.A.R. referring to his participation in a random Transformers and the Thor films: “No Acting Required.” But he has shown up to play in The Father with a towering performance. His ability to command sympathy and understanding for Anthony, despite the character’s abrupt mood swings, is incredible. Hopkins is deserving of his Best Actor nomination (though is likely to lose to the late Chadwick Boseman, posthumously nominated for a heart-breaking performance in Ma Rainey’s Black Bottom).
(Another Oscar sidebar: at this writing, Olivia Colman is nominated for Best Supporting Actress and has a decent chance of winning in a stacked category. If she does win, this will be the second time she has taken a statue from Glenn Close, who has somehow still not won an Oscar, despite eight nominations. The Academy has a history of sloppy do-overs, granting “make up” Oscars for less-deserving performances. It’s easy to see Close taking home the prize this month under those circumstances. That would be a mistake.)
The Father will pull you in many emotional directions. Zeller’s script and direction justify its transition to the big screen. It’s also a masterclass in acting, with a talented cast expertly capturing a raw, relatable emotional depth deserving of every critical nomination. Just make sure to block out an hour or two afterwards to properly sit with your feelings.
The Father is currently in theaters and available to rent on Amazon Prime and Google Play. It runs 97 minutes and is rated PG-13 for some strong language, and thematic material.
