Anemone, the three-time Oscar winner’s quote-unquote comeback film and the feature directorial debut of his son Ronan Day-Lewis, is an even less sunny experience. (At least for the viewer; Day-Lewis has described filming with his son as “beginning to end, just pure joy to spend that time together with him”.) It’s a bleak mood, at times effective – I occasionally found myself aching for a hug – and more often alienating. That is, until Day-Lewis delivers them, with two mesmerizing monologues that briefly allow the project to transcend theme into deliverance. The younger Day-Lewis shows promise as a film-maker – Anemone certainly looks serious, the correct scowls and swirling skies and wordless, eerie montages to suggest weighty themes, big emotions and ominous suspense.