The Father.

Nominated for six Academy Awards this year, including Best Picture, The Father gives a devastating portrait of dementia from the perspective of the sufferer, recasting the experience as a psychological mystery – but one without the promise of a neat ending. It brings together an incredibly clever screenplay and a BAFTA-winning performance from Anthony Hopkins, while making superb use of the limited space of a film set almost entirely in one flat. (It’s available to rent now as a premium/early access option for $19.99 through amazon and other VOD sites.)

Adapted from the stage version by the playwright Florian Zeller, The Father starts out simply enough: Anthony (Hopkins) is arguing with his daughter Anne (Olivia Colman, also nominated for an Oscar) because he has scared off his most recent carer. He says it’s because she stole his watch, and rants about his other daughter, Lucy, whose name seems to bring the film to a screeching halt whenever Anthony broaches the topic. In the following scene, Anthony finds a strange man (Mark Gatiss) in his living room, and the man says he’s Paul, Anne’s partner, whom Anthony doesn’t recognize – and when Anne returns, she’s played by a different actress (Olivia Williams) and Anthony doesn’t recognize her either. Is this just his memory failing, or is something more sinister at play?

The Father utilizes those tricks and more – details of the flat change as well, part of the nonlinear nature of time in this film – to express Anthony’s disorientation to the viewer beyond having him show his confusion. His flat and his daughter’s share a structure, but things like light fixtures, furniture, and wall colors differ slightly, just enough to throw Anthony and the viewer off as we try to figure out not just where we are, but when. Hopkins is truly incredible here, still showing a plus fastball here at age 81 (when it was filmed), delivering the sort of performance the film requires and that you’d expect to see in a stage production. His confusion is palpable, his attempts to mask it through word and action realistic, and his rapid mood shifts – one of the scariest aspects of dementia for family members – are just a series of hard line drives, impressive because they’re subtle and yet impossible to ignore. The script avoids the obvious, such as having Anthony become violent, or scream obscenities, or other possible behaviors of someone with his condition, and instead lets Hopkins deliver the smaller but no less devastating changes in a way that hammers them home to the viewer.

This film is as replete with symbolism as any I can remember watching, perhaps a reflection of its stage origins, although in this sense it felt just as much like a classic novel. The color blue is everywhere in this film – walls, backsplashes, furniture, clothes – which seems like an obvious nod to the sadness and depression suffered by both a patient developing dementia and their loved ones, while the color also appears in a new setting at the end of the film that makes the connection more explicit. Anthony’s obsession with his watch, which can be a common behavior in patients with memory loss, may also represent his slipping grasp of time; in one scene, the time jumps from early morning to evening without a cut, leaving Anthony, still in his pajamas, even more confused than usual. There could be more – the shattered tea cup, the painting above the fireplace, the trees – but I will assume the chicken is, in this case, just a chicken.

The one quibble I have with The Father is the ending, which may be completely realistic but does take away some of the mystery that Zeller built up in the preceding 100 or so minutes with a resolution that, again, is probably accurate to such stories, but took some air out of the dramatic balloon. We spent much of the movie trying to come up with possible explanations for everything that was happening – for example, are Gatiss and Williams some sort of confidence artists? – but the story is much simpler than that.

Hopkins is just incredible here, my favorite lead actor performance of the year, although I don’t think there’s any chance he wins the award over Chadwick Boseman for Ma Rainey’s Black Bottom (and I’m not sure I would want to see the reaction if he did). Colman is superb as well, my favorite of the three nominees I’ve seen, although it appears the favorite is one I haven’t seen, Youn Yuh-jung for Minari. It’s also nominated for Best Adapted Screenplay, which could be its best chance for a win on Sunday. As for the film itself, I would still lean towards Nomadland for Best Picture, but this sits at #2 on my ranking of movies from the 2020-early 2021 awards cycle, with just a couple of candidates left to see, and one more that made my top 5 still left to review.