The Big Picture

‘Hamnet’ and the 10 Best Performances of 2025. Plus: Kleber Mendonça Filho on ‘The Secret Agent.’

December 12, 2025

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  • The discussion on Chloe Zhao's *Hamnet* reveals a split reaction, with strong praise for its emotional power in the final act, particularly Jesse Buckley's performance, contrasted with criticism of the film's 'woo-woo energy' and heavy-handedness in the first hour. 
  • The hosts and guest Joanna Robinson view *Hamnet* as an 'important movie' for affirming the communal value of theatrical moviegoing, despite mixed feelings on its overall quality. 
  • The segment on *The Secret Agent* highlights Wagner Moura's performance as a major draw, with the film being described as a wild, sincere, and painful mix of genre conventions set against the dark backdrop of 1977 Brazil. 
  • A recurring theme in the early part of the performance list involved accomplished actors taking on enjoyable, often preposterous, roles in big-budget films, exemplified by Rosamund Pike, Colman Domingo, and Tobias Menzies in villainous turns. 
  • The conversation transitioned into an interview segment with Kleber Mendonça Filho, who shared personal anecdotes about his childhood moviegoing experiences in Recife, specifically mentioning seeing a Tom and Jerry marathon at the San Luis Cinema in 1973. 
  • Director Kleber Mendonça Filho discusses how his personal childhood memories of cinema in Recife, particularly the San Luis cinema, heavily influenced the setting and aesthetic of his film, *The Secret Agent*, which is set in 1977. 
  • Mendonça Filho explains that fiction films can sometimes convey more truth than documentaries by utilizing artifice and genre conventions to explore honest ideas about life and people. 
  • The director intentionally wrote the lead role in *The Secret Agent* specifically for Wagner Moura, a collaboration that stemmed from a decade-long desire to work together after meeting at Cannes. 

Segments

Podcast Introduction and Guests
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(00:00:14)
  • Key Takeaway: Joanna Robinson joins Sean and Amanda to discuss Hamnet and Kleber Mendonça Filho is featured to discuss The Secret Agent.
  • Summary: The hosts introduce themselves and the episode’s focus on Chloe Zhao’s Hamnet and the best performances of 2025. Guest Joanna Robinson is welcomed to discuss Hamnet, which stars Jessie Buckley. Director Kleber Mendonça Filho is also scheduled to discuss his film The Secret Agent, featuring Wagner Moura.
Spielberg Film News
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(00:01:47)
  • Key Takeaway: A new Steven Spielberg film, possibly titled Disclosure and starring Josh O’Connor and Emily Blunt, is set for a June 12, 2026 release.
  • Summary: News broke about a new Spielberg film, rumored to be about aliens, with a confirmed release date of June 12, 2026. The film involves writer David Kepp, leading to mixed feelings among the hosts regarding Spielberg’s current era of filmmaking. The hosts briefly debate the merits of having a billboard in Times Square.
DCU Supergirl Trailer Reaction
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(00:06:17)
  • Key Takeaway: The trailer for the Supergirl movie, the second film in James Gunn and Peter Safran’s DCU, suggests a ‘fun and fine’ but potentially standard blockbuster.
  • Summary: The second film in the new DCU, Supergirl, is directed by Craig Gillespie and stars Millie Alcock, with Jason Momoa potentially appearing as Lobo. The hosts felt the trailer lacked the unexpected heart that characterized the first DCU film, Superman. Director Craig Gillespie is noted for making ‘zippy, entertaining, but very empty movies.’
AI and Filmmaking Tangent
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(00:09:56)
  • Key Takeaway: Jacob Alorty expressed zero tolerance and interest in discussing AI in filmmaking, calling the topic ‘so fucking boring.’
  • Summary: Jacob Alorty’s recent interview quote is shared, expressing extreme boredom with the topic of AI in filmmaking. This sentiment is contrasted with the hosts’ enjoyment of the absurd elements in Avatar (Brontosauri and whale brain juice). The discussion pivots back to Superman, noting that the film became less compelling as it focused on lore and CGI over the core relationship.
Deep Dive into Hamnet
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(00:12:28)
  • Key Takeaway: The film Hamnet is considered an important work for its communal viewing experience, though its first hour is described as a ‘crushing bore’ by some.
  • Summary: The film is noted as Chloe Zhao’s first project since Eternals, adapting Maggie O’Farrell’s novel about Shakespeare’s family life, with the death of Hamnet serving as the premise. Joanna Robinson argues the film is vital for capturing the meaning of shared art, while Sean Fennessey found the first hour resistant and overly focused on nature imagery. The film’s ending, which connects Hamnet’s death to the rise of Hamlet, is universally praised as spectacularly moving.
Hamnet Performances and Directing Style
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(00:25:03)
  • Key Takeaway: Jesse Buckley and Paul Mescal’s improvisational, primal performances, particularly in the final act, override initial reservations about the film’s structure.
  • Summary: The raw, emotive performances of Buckley and Mescal, including Mescal’s improvised lines, were crucial in accessing the film’s emotional core. One scene highlighting Buckley’s physical distress during childbirth is cited as astonishingly powerful. The film exhibits a collision of styles, mixing Zhao’s naturalistic handheld camera work with more theatrical framing inspired by Zone of Interest.
Hamnet Awards Buzz and Music
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(00:37:13)
  • Key Takeaway: The use of Max Richter’s pre-existing track, ‘On the Nature of Daylight,’ in the climax is considered ‘dirty pool’ for manipulating emotion, despite its effectiveness.
  • Summary: The use of Richter’s music in the final sequence is criticized as a manipulative shortcut, though it was reportedly integral to Jesse Buckley’s process. The film’s strong emotional impact relies heavily on revelation for first-time viewers, which may affect its rewatchability and awards trajectory compared to initial festival buzz. The film is seen as a counterpoint to other male-centric prestige films, bolstering Jesse Buckley’s Best Actress chances.
The Secret Agent Discussion
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(00:48:45)
  • Key Takeaway: The Secret Agent is a thrilling, sincere, and absurd two-hour-and-forty-minute film that successfully blends crime conspiracy with a personal story about a father seeking his son.
  • Summary: The film is praised for its cool, genre-blending approach, mixing sincerity with absurdity and set in 1977 Brazil, giving it a strong sense of place. Wagner Moura’s performance is lauded for utilizing his sincerity and mystery, making the film’s complex plot feel grounded. The film is compared to One Battle for its shambling yet cohesive feel and has Paul Thomas Anderson-like observational humor.
Favorite Performance Spotlight
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(00:54:04)
  • Key Takeaway: Olivia Colman’s funny, classic performance as a nun in Paddington in Peru brought joy to Amanda Dobbins, while Ethan Hawke’s heartbreaking portrayal of a composer in Blue Moon is Sean Fennessey’s pick.
  • Summary: The segment celebrates actors the hosts have a strong relationship with at the top of their game. Amanda Dobbins highlights Colman’s role in Paddington in Peru as a joyful shared experience with her son. Sean Fennessey praises Ethan Hawke’s performance in Blue Moon as a fascinating and heartbreaking portrayal of a composer near the end of his life.
Personal Performance Spotlight
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(00:54:22)
  • Key Takeaway: Olivia Colman’s performance as a nun in Paddington in Peru brought one host significant joy during their first theater trip with their son.
  • Summary: One host highlighted Olivia Colman’s role in Paddington in Peru as a classic, accomplished actor doing silly things in a big-budget movie. Another host selected Ethan Hawke’s performance in Blue Moon as a heartbreaking and fascinating portrayal of a composer near the end of his life. The segment established the ground rules for the upcoming top 10 performance lists for 2025.
Top 10 Performance List Begins
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(00:57:17)
  • Key Takeaway: Camille Rutherford’s performance in the small French film Jane Austen Wrecked My Life was praised for its delightful, cozy indie film quality reminiscent of the 1990s.
  • Summary: The first official pick was Camille Rutherford in Jane Austen Wrecked My Life, a film described as not being a frilly period piece but a movie about real people trying to be writers. Amanda grouped three performances—Rosamund Pike in Now You See Me, Now You Don’t, Colman Domingo in The Running Man, and Tobias Menzies in F1—as examples of accomplished actors having fun playing preposterous villains in big-budget movies. Connor O’Malley in Friendship and Danny Houston in The Naked Gun were highlighted as excellent comic relief within their respective comedies.
Michael Cera and Jack Quaid Mentions
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(01:02:17)
  • Key Takeaway: Michael Cera’s performance in The Phoenician Scheme was lauded as a perfect fit for a Wes Anderson film, showcasing magic in his transformation from a bug tutor to a spy.
  • Summary: Joanna selected Michael Cera in The Phoenician Scheme and The Running Man, noting that his appearance in the latter instantly raised the segment’s interest level. Amanda chose Jack Quaid for Companion, praising his ability to communicate the right amount of charm and smarm, suggesting he has the screen presence of a classic movie star. Chase Infinity in One Battle After Another was also highlighted for her tremendous performance, effectively taking the movie away from established stars like Sean Penn and Benicio del Toro.
Dual and Thematic Performance Picks
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(01:07:11)
  • Key Takeaway: Dominique Thorne and Normani were recognized for their electric rap battle performances in a vignette within the mixed-success film Freaky Tales.
  • Summary: Joanna presented a dual award for Dominique Thorne and Normani in Freaky Tales, whose segment was the most fun part of an otherwise shaggy film. Amanda praised Robert Pattinson in Mickey 17 for taking the biggest swing and being incredibly watchable despite the film not entirely working. Joanna selected Inga Ibsdotter Lilius in Sentimental Value as the most real person in that film, particularly shining in a devastating scene opposite Stellan Skarsgård.
Performances in Mixed-Reception Films
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(01:11:01)
  • Key Takeaway: Tona Tua’s charismatic and handsome portrayal of Luis Molina in the musical film Kiss of the Spider-Woman was deemed fantastic, overshadowing Digaluna.
  • Summary: Joanna praised Tona Tua in Kiss of the Spider-Woman for his compelling performance in the role originally played by William Hurt, noting the difference in embodying the character as a queer man. Amanda selected Josh O’Connor for his range across Rebuilding, The Mastermind, and Wake Up Dead Man, noting his quiet, soulful work. Amanda also grouped Rose Byrne in If I Had Legs, I’d Kick You and Jennifer Lawrence in Die My Love as excellent portrayals of mothers going through intense struggles.
Top Tier Performances of 2025
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(01:35:32)
  • Key Takeaway: Eva Victor earned a high ranking for writing, directing, and starring in Sorry Baby, a tough film dealing with serious issues through absurd and hilarious notes.
  • Summary: Joanna placed Eva Victor at number two for her multi-hyphenate work on Sorry Baby, calling it an important announcement of an artist whose future work she will follow. Amanda placed Rose Byrne and Jennifer Lawrence at number two for their raw, human performances as mothers. Both hosts agreed that Jessie Buckley in Hamnet and Timothy Chalamet in Marty Supreme were their shared number one performances for 2025.
Interview with Kleber Mendonça Filho
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(01:46:01)
  • Key Takeaway: Kleber Mendonça Filho’s first film experience was a Tom and Jerry Marathon at the San Luis Cinema in 1973, and his frequent childhood moviegoing in Recife was an escape during a family health crisis in 1977.
  • Summary: Mendonça Filho shared that the San Luis Cinema, featured in The Secret Agent, is still open and recently restored. He explained that in 1977, his uncle took him and his brother to the cinema frequently to shield them from a family health crisis involving his mother’s breast cancer treatment. This early exposure to films in the downtown area of Recife fueled his later career as a cinephile, critic, and filmmaker.
Childhood Film Memories
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(01:46:33)
  • Key Takeaway: The San Luis cinema, featured in The Secret Agent, opened in 1952 and remains an intact, recently restored movie palace where the director saw his first film in 1973.
  • Summary: Kleber Mendonça Filho first attended a film screening at the San Luis cinema in 1973 at age four, watching a Tom and Jerry marathon. This cinema is a significant location in his film The Secret Agent. The venue is described as one of the world’s great movie palaces, having been recently restored.
1977 Family Crisis
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(01:47:06)
  • Key Takeaway: The year 1977 became a critical period for the director’s filmgoing due to a family health crisis involving his mother’s breast cancer treatment, leading to frequent cinema escapes.
  • Summary: In 1977, when the director was nine, his younger uncle frequently took him and his brother to the cinema as an escape from a family health crisis. This period of intense film exposure in downtown Hisifi heavily influenced his later film Pictures of Ghosts. He recalls seeing posters for films like The Omen and Jaws even if he couldn’t see the films themselves.
Film Essay vs. Fiction
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(01:49:48)
  • Key Takeaway: In Pictures of Ghosts, the San Luis cinema is shot like a character, whereas in The Secret Agent, it is shot as if it were an actor.
  • Summary: The director views Pictures of Ghosts as a film essay where the cinema acts as a character, but in The Secret Agent, the cinema is treated as an active actor. The development of Pictures of Ghosts from his personal archive ultimately set the mood for writing the script for The Secret Agent. The setting for The Secret Agent was always intended to be 1977, the first year the director clearly remembers as a child.
Genre Blending and Influences
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(01:52:31)
  • Key Takeaway: The blend of genre, exploitation convention, history, personal reflection, and absurdism in The Secret Agent reflects the director’s upbringing watching diverse cinema, including John Carpenter and Wake in Fright.
  • Summary: The director believes that life and society can feel absurdist, justifying the film’s genre blend, and he grew up watching genre cinema from filmmakers like John Carpenter and De Palma. He cites Wake in Fright as a major influence on the opening sequence of The Secret Agent. He asserts that fiction can be more truthful than some documentaries by using artifice to convey honest ideas about the world.
Designing Dread and Humor
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(01:55:37)
  • Key Takeaway: Dread and humor in filmmaking are often emergent properties resulting from camera placement, editing, and chemistry, rather than being strictly pre-designed elements.
  • Summary: The director finds the humor in The Secret Agent to be a surprise, stating that comedy should not be pre-designed but emerges from chemistry, similar to a funny conversation with friends. Dread is achieved through subtle technical choices, such as slightly misplacing the camera to generate tension. He compares this emergent quality to De Palma’s work, where dread can lead to moments that feel almost hilarious, like the bucket of blood scene in Carrie.
Split Diopter Shot Intent
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(01:58:15)
  • Key Takeaway: Split diopter shots in The Secret Agent were used intuitively, referencing 1970s/80s films like Blow Out, to emphasize emotional distance or uncomfortable proximity between characters.
  • Summary: The use of split diopter shots is a stylistic tool the director likes, noting they have gone out of fashion, and he was inspired by films like Blow Out and Close Encounters. In one instance, the shot emphasizes the emotional distance between a father and son despite them being in the same frame. In another, it creates an uncomfortable closeness between the assassin and his target.
Filmmaking Career Trajectory
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(02:01:46)
  • Key Takeaway: Starting filmmaking later in life (age 42) after journalism and criticism provided a deep foundation, as the director considered film criticism itself a form of filmmaking.
  • Summary: The director pursued journalism because film schools were unavailable in his city, and he always enjoyed writing, which naturally led him toward film criticism. He felt being a film critic involved deeply thinking about and analyzing films, making it a way of participating in cinema. His short films gained recognition in the 2000s, but transitioning to features after Neighboring Sounds made it difficult to return to shorts due to industry focus.
Working with Wagner Moura
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(02:06:17)
  • Key Takeaway: The director wrote The Secret Agent specifically for Wagner Moura, who had reached out after seeing Neighboring Sounds, and the director consciously aimed to tap into Moura’s mysterious qualities beyond his movie star handsomeness.
  • Summary: Moura first contacted the director a decade after they met, expressing a desire to collaborate, which led to the director writing The Secret Agent specifically for him—the first time he wrote a film for a specific actor. The director is fascinated by film stars who effortlessly inhabit the frame, and he sought to showcase Moura’s ability to suggest complex internal machinery and a lust for life. The director deliberately avoided having a ‘Plan B’ actor for the role.
Portraying Brutality and Love
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(02:11:11)
  • Key Takeaway: The director believes in portraying violence brutally when necessary, drawing on influences like Verhoeven and Cronenberg, while ensuring moments of love and sexuality are conveyed with equal honesty and frankness.
  • Summary: To convey a true sense of life, the director feels obligated to be loving where love exists and brutal where violence is involved, citing influences like Verhoeven and Cronenberg for mapping out how to portray brutality. He emphasizes that every situation—whether violence, affection, or waiting for a bus—should be given the honest and engrossing treatment it requires. The film contains a lot of love and affection, even amidst its brutal elements.
Udo Kier and Identity Scene
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(02:14:33)
  • Key Takeaway: The sequence featuring Udo Kier, who recently passed away, explores themes of identity and historical context, stemming from the director’s childhood experiences with the Jewish community in Hisifi.
  • Summary: The director deeply admired Udo Kier, noting his full life in cinema and his sarcastic humor, and was planning to work with him again. The scene where Kier’s character is interrogated about his WWII service reflects the director’s observations about the far-right’s difficulty with historical context, particularly given Hisifi’s Jewish community. The scene powerfully addresses identity, where Kier’s character is treated like a ‘circus attraction’ based on assumptions about his body.
Award Season Experience
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(02:20:00)
  • Key Takeaway: Entering the award season apparatus feels validating because filmmaking encompasses the entire process from conception and funding through post-production, festival travel, and public reception.
  • Summary: The director finds the current exposure rewarding because filmmaking involves every stage, including writing, securing funding, shooting, editing, and traveling for festivals. He notes the intense travel schedule during awards season, which is being managed by Neon. He plans to spend the last 15 days of December at home watching films with his family before the circuit resumes in January.
Last Great Film Seen
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(02:22:41)
  • Key Takeaway: The last great film the director saw in a cinema was Chantal Akerman’s Jeanne Dielman, which provided a powerful textural experience in its 4K restoration.
  • Summary: The director recently watched the 4K restoration of Chantal Akerman’s Jeanne Dielman in a small screening room, an experience he had never had in cinema before. He was struck by the texture of the image, noting that the restoration preserved the grain and the hiss of an old optical 35mm mono soundtrack. This viewing made him feel as if he had spent a full week with the woman in the apartment.