The crying game: what Hamnet's grief-porn debate says about women, cinema – and enormous hawks

[Excitin]

The art of grief has become a contentious issue in recent years, with many films capitalizing on the emotional resonance of bereavement to great effect. However, not all grief dramas are created equal, and some may be more concerned with manipulating emotions than exploring the complexities of human sorrow.

Hamnet, the latest film to tackle this sensitive subject, is a dramatization of Maggie O'Farrell's novel about the tragic death of William Shakespeare's son at the age of 11. The film boasts an impressive cast, including Jessie Buckley and Paul Mescal, who deliver nuanced performances that make the characters feel fully realized.

But what sets Hamnet apart from other grief dramas is its emphasis on the emotional intensity of women's experiences. The film posits that women are more attuned to their emotions and possess a deeper understanding of the natural world, which is reflected in the iconic imagery of birds. This notion is reinforced by the director, Chloé Zhao, who believes that "feminine leadership" draws strength from intuition, relationships, community, and interdependence.

While this perspective may resonate with some viewers, it can also feel like a convenient narrative device to explain away the limitations of male characters. In The Thing With Feathers, for example, Benedict Cumberbatch's portrayal of a grieving father feels more like a caricature than a fully fleshed-out person. His character is reduced to being an "angry harbinger of grief and inadequacy," rather than a complex individual with his own emotional struggles.

Tuesday, on the other hand, takes a different approach. The film centers around Julia Louis-Dreyfus's character, who is struggling to cope with her daughter's impending death. Rather than relying on melodrama or sentimentality, the movie employs humor and absurdity to explore the difficulties of mortality. This tone may feel jarring at first, but it ultimately adds a layer of depth to the story and allows the audience to connect with the characters on a more intimate level.

Ultimately, whether Hamnet's emphasis on women's emotional experiences is seen as art or grief-porn depends on one's perspective. However, what is clear is that these films are pushing the boundaries of how we talk about and portray grief in cinema. By exploring the complexities of human sorrow, they offer a more nuanced understanding of this universal experience.

It's worth noting that some may find certain aspects of these films to be problematic or prescriptive. For instance, the notion that women must possess a deeper connection with nature is an oversimplification of complex issues. However, when executed thoughtfully and without agenda, these ideas can lead to meaningful explorations of grief and its impact on individuals.

As we navigate the complexities of mortality, it's essential to approach these topics with empathy and nuance. While Hamnet, The Thing With Feathers, and Tuesday may not all be equally successful in their execution, they demonstrate a willingness to confront difficult emotions head-on. By doing so, they offer us a chance to process our own grief and find meaning in the face of loss.

 

[Nervous Narwhal]

I'm not convinced that these movies are necessarily exploring complexities of human sorrow . I mean, have we seen a more nuanced portrayal of grief than just "women are more emotional" or "humor is the best way to cope"? . I need some actual research and data on this topic, not just feel-good sentimentality .

What's really being studied here? How do these films actually affect viewers' experiences of grief? Is it just about manipulating emotions for a more impactful film experience or is there something more at play ?

Let's get real, some of these performances in The Thing With Feathers feel pretty one-dimensional to me . I want to see more depth and character development in the men too, not just the women .

I'm also concerned about the way this film reduces male grief to a caricature . Is that really how men experience and express their emotions? I'd love to read some studies on this topic before I buy into it .

Can we have a discussion without the assumption that these films are automatically "good" or "thought-provoking"? Let's critically evaluate them, okay?

 

[All-Ameri]

I'm still reeling from how some filmmakers think they can just hand-wave away male characters with their "feminine leadership" nonsense . Like, Benedict Cumberbatch's performance was already great, but reducing him to an angry caricature because he played a grieving dad? Come on...

On the other hand, I loved Tuesday's approach to dealing with mortality - using humor and absurdity to tackle some heavy stuff. It's a bold move, and it actually makes the movie more impactful .

I'm just not convinced by Hamnet's "women are more attuned to emotions" narrative. Sounds like a bunch of Hollywood BS to me .

But one thing's for sure: these films are making us talk about grief in new ways, and that's something we should be grateful for .

 

[Better Buffalo]

I gotta say, I'm loving how these films are tackling grief from different angles . Hamnet's focus on women's emotional experiences is really refreshing, and it's awesome to see more female characters getting screen time . But at the same time, I think The Thing With Feathers could've benefited from a bit more depth with its male lead . And Tuesday's use of humor to explore mortality? Genius! It's like they're saying, "Hey, grief is hard, but let's laugh about it too." You know? Anyway, I'm all for these films pushing the boundaries on how we talk about and portray grief in cinema . They're making us feel all the feels and helping us process our own emotions .

 

[Uninterested Unico]

gotta love how these grief dramas are pushing boundaries, but also gotta question the convenient plot devices #griefdramas #emotionalintelligence

 

[Better Bug]

I'm so over these movies that just use bereavement as an excuse to get emotional manipulation right back at ya . Like, Hamnet's all about women being more attuned to their emotions, but what about the men who are suffering too? It feels like they're just stuck in this perpetual "angry and inadequate" trope . And don't even get me started on how it reduces complex characters like Benedict Cumberbatch's to a single note... I mean, can't they show more depth or anything?

 

[Arcane Polka C]

The way these films tackle grief is just so... messy I mean, don't get me wrong, it's great that they're trying to explore complex emotions, but some of the execution feels really forced to me. Like, come on, a film about Shakespeare's son dying can't just be a shallow drama, right? But at the same time, I get why people might feel like Hamnet is relying too heavily on "feminine leadership" tropes it's like they're trying to explain away the limitations of male characters instead of making them complex and relatable.

And don't even get me started on the use of birds in The Thing With Feathers. It just feels like a lazy narrative device to me. I mean, Benedict Cumberbatch is great and all, but his character can't be reduced to being some sort of "angry harbinger of grief"... it's not that deep

But you know what film I did love? Tuesday! It's so refreshing to see a story tackle mortality with humor and absurdity instead of just melodrama or sentimentality. Julia Louis-Dreyfus is just amazing in it, and I think the tone really adds a layer of depth to the story.

Overall, these films are definitely pushing boundaries, but some of them can be really hit-or-miss for me

 

[Trendy Sailor Apocal]

i think hamnet's focus on women's emotional experiences is a great way to add depth to the story, but sometimes feels like a crutch to explain away male characters it's like they're not fully fleshed out people. i do love how tuesday uses humor and absurdity to tackle mortality tho it makes the experience feel less melodramatic and more real. maybe these films aren't for everyone, but that's what makes them thought-provoking

 

[Calm Cray]

I gotta say, I'm kinda disappointed with how some of these films approach grief. Like, I get that we need to talk about it and all, but can't we just do better than relying on convenient tropes?

I mean, Hamnet's got a great cast and all, but the way they portray women is still pretty one-dimensional. It feels like they're trying too hard to make the female characters seem "emotional" or whatever, rather than actually fleshing them out.

And then there's The Thing With Feathers... what's up with that guy? He's just this angry harbinger of grief, no depth at all. Like, where's his emotional journey? His character feels like a caricature, not even a real person.

But you know what does work? Tuesday. That one takes some risks and actually makes you laugh while still tackling some tough stuff. It's like they say: humor is the best medicine for grief... or at least that's what it feels like .

Anyway, I think these films are trying to do something new and different with grief dramas. Whether they succeed or not is up for debate, but hey, at least we're having a conversation about it!

 

[Bloody B]

I'm still reeling from how much these grief dramas are tackling real issues without feeling like a total downer . I mean, Hamnet's focus on women's emotional experiences is a breath of fresh air - we don't get enough stories that explore the complexities of female grief . And The Thing With Feathers' portrayal of male grief? more like a harsh reminder of how we're still so bad at dealing with emotions .

But what really gets me is how these films are making us laugh and cry in equal measure - it's like they're saying, 'Hey, mortality isn't all doom and gloom!' Tuesday's tone is pure genius - who knew humor could be the perfect way to tackle something as difficult as loss?

And honestly, I love that these films are pushing boundaries and challenging our expectations. It's not always easy to watch, but it's exactly what we need more of in cinema - a willingness to confront the hard stuff head-on .

I do wish some of the characters felt more fleshed out, like, Benedict Cumberbatch's dude needed more than just a few angsty lines . But overall, I'm so here for these films and their unapologetic exploration of grief . Can we get more? Please?

 

[The Care]

I mean, can you imagine watching Hamnet or The Thing With Feathers without knowing it's about Shakespeare's son? It's like they're trying too hard to be artsy. Give me a good ol' fashioned Hollywood tearjerker any day Back in my day, we didn't need all that fancy cinematography and bird symbolism to tell us the story. Just give me a bunch of talented actors and a decent script, and I'm set

 

[Open Oryx]

I gotta say, I'm still reeling from The Thing With Feathers - it's like they reduced an entire person to just their anger . I get that it's supposed to be a portrayal of grief, but can't we have more depth? And on the other hand, Tuesday is like a breath of fresh air - humor and absurdity can really help tackle some tough stuff . Hamnet's all about women's emotions and nature, which I think is interesting, but it feels like they're trying too hard to make a point sometimes . Ultimately, these films are pushing the boundaries of grief in cinema, even if they don't always succeed