MOVIE OF THE WEEK January 23, 2026: H IS FOR HAWK

Based on the same-named 2014 memoir by British writer, naturalist, and academic Helen Macdonald — and boasting an affecting star performance from Claire Foy — director Philippa Lowthorpe’s pensive drama H Is for Hawk is a contemplative examination of a daughter’s grief in the wake of her beloved father’s unexpected death. It’s also a beautiful story about how Helen’s bond with a fierce goshawk named Mabel ultimately helps her find her way out of the darkness.

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H IS FOR HAWK – Review by Jennifer Merin

The exquisitey crafted H is for Hawk is British filmmaker Philippa Lowthorpe’s profoundly moving and utterly engaging cinematic metaphoric meditation on mourning and the transitory nature of life and nature, itself. The script, cowritten by Lowthorpe with Emma Donahue and based on the autobiographical memoire by Helen Macdonald, is structured to keep you thoroughly emotionally captivated, while simultaneoulsy providing sufficient space for the story to seep into your psyche and generate contemplation of its meaning. Powered by Claire Foy’s brilliant performance, H is for Hawk is unforgettable. It is a must see!

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H IS FOR HAWK – Review by Loren King

It’s a tall order to translate to the screen what’s delicately layered on the page. But what the film has is Claire Foy, as a version of memoir writer Helen Macdonald, a prickly nature-lover and academic who, in the wilds of grief over the sudden death of her beloved father, photojournalist Alisdair Macdonald (Brendan Gleeson), adopts and trains a goshawk she names Mabel. Mabel is a dangerous predator who must feed on birds and animals and whose icy stare is actually scary. An emotional support pet she is not.

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H IS FOR HAWK – Review by Leslie Combemale

Early in the new narrative release H is for Hawk, an expert in the field of falconry calls goshawks the “perfectly evolved psychopath”. Why, then, does research Cambridge fellow and mourning daughter Helen Macdonald want to commit to training one? The answer is examined through a cinematic adaptation of Macdonald’s award-winning memoir of the same name, chronicling the sudden loss of her father and her subsequent connection with a goshawk. Audiences are witness to Macdonald’s (Claire Foy) highest and lowest points on her journey of loss, from shock to anger and depression to an inevitable point where she must move forward into acceptance. Though audiences are witness to some of grief’s lowest lows, this human and hawk and this chronicle of the way they move through nature, are a study in the transformational power of the human/animal connection.

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H IS FOR HAWK – Review by T.J. Callahan

I am not sure co-starring in a feature film with a bird of prey was on celebrated actress Claire Foy’s bingo card, but she soars to the occasion in H is for Hawk. The very British biographical drama is written and directed by Philippa Lowthorpe and based on the New York Times bestselling memoir of the same name from Helen Macdonald. Foy is Helen, an academic and a daddy’s girl. When her father unexpectedly dies, Helen retreats into her home and into herself. Trying to keep her father alive by recreating their shared love of birds and nature, Helen buys a goshawk she names Mabel and spends her days training the bird to hunt. Mabel becomes Helen’s security blanket of sorts helping her to rediscover the beauty of life.

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ALL OF US STRANGERS – Review by Diane Carson

Seldom has a film so elegantly combined eerie mystery with awkward love merging into passionate embrace, plus an immersion into a childhood through reentering one’s parents’ lives. That’s the deft high wire act writer/director Andrew Haigh pulls off in All of Us Strangers. Based on Taichi Yamada’s 1957 novel Strangers, the film explores important relationships amidst perplexing memories.

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ALL OF US STRANGERS (Middleburg FF 2023) – Review by Leslie Combemale

Imagine a narrative that is the cinematic version of Brian Eno’s Ambient 1, and you might be able to grasp the emotional, atmospheric examination of grief that is All of Us Strangers. A dream cast featuring Andrew Scott, Paul Mescal, Jamie Bell and Claire Foy star in writer/director Andrew Haigh’s film is a living ghost story, based on the 1987 Japanese novel Strangers, by Taichi Yamada. Haunting and dreamlike, the cinematography, production design, performances and pacing all conspire to create a sort of out of body experience, even as it breaks your heart.

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WOMEN TALKING – Review by Susan Granger

Best Picture Oscar-nominee Women Talking delves into how solidarity is the key to survival when sexual abuse, including raping four-year-old children, is not only acceptable but condoned through Mennonite religious practices. Set in 2010 on a remote farm in Canada, it revolves around a group of women inhabiting a closed, cultlike, Christian community in which men routinely drug helpless women/children with livestock tranquilizers and sexually assault them in the middle of the night.

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WOMEN TALKING – Review by Diane Carson

Both intimate and expansive in exploring weighty ideas, Women Talking lingers in its intellectual engagement, never cynical or dismissive, ever provocative and stimulating. Sarah Polley has crafted one of the best films of the decade, never mind of the year.

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MOVIE OF THE WEEK December 21, 2022: WOMEN TALKING

Morality, autonomy, agency, and community intersect in writer/director Sarah Polley‘s absorbing drama Women Talking. Literary in its pedigree — it’s adapted from Canadian author Miriam Toews’ same-named 2018 novel — and play-like in its simplicity of setting and scope, the thought-provoking film explores what happens when a group of women in a conservative, isolated religious colony must make a decision that will affect all of their lives forever.

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