Shadows on the Wall | Goodbye June

Goodbye June

dir Kate Winslet
scr Joe Anders
prd Kate Winslet, Kate Solomon
with Kate Winslet, Toni Collette, Andrea Riseborough, Johnny Flynn, Helen Mirren, Timothy Spall, Fisayo Akinade, Stephen Merchant, Jeremy Swift, Raza Jaffrey, James Dryden, Dan Li
release US/UK 12.Dec.25
25/UK Netflix 1h54

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This British holiday drama benefits from an unusually astute script by first-time writer Joe Anders and inventive direction by his mother, first-time director Kate Winslet. She also stars alongside a terrific ensemble cast that continually injects barbed comedy alongside beautifully understated emotions. It's a rare film that balances the earthiness of real life with the powerful impact of death. And while it's certainly sad, it's remarkably uplifting too.

As her cancer advances, June (Mirren) is placed in palliative care, but she's determined to guide her family in the days leading up to Christmas. Workaholic daughter Julia (Winslet) struggles against her demanding sister Molly (Riseborough), while their sensitive brother Connor (Flynn), who lives at home with obtuse dad Bernie (Spall), grapples with his emotions. Then lively older sister Helen (Collette) flies in with a suitcase full of new-age remedies. As nurse Angeli (Akinade) tries to make Helen comfortable, the family must sort out its issues and face what's coming. And grandkids keep things lively.

Most impressive is how the script provides engaging story arcs for the parents and siblings, as each must look inside to find a path through this situation. Meanwhile, a flurry of in-laws and youngsters add realistic noise and energy. The authentic interaction mixes jagged humour and earthy affection with harsh comments and a lot of eye-rolls. In other words, there's a real sense of history between these people, and perhaps they know each other too well.

The actors find wonderful nuances as they deal with each other, revealing which relationships are closer and who is more forgiving. But the family bond is very strong, even in the sometimes frightening clashes between Winslet's taut Julia and Riseborough's opinionated Molly. Collette's colourful Helen somehow never becomes cartoonish, and Flynn holds the film's heart with his soulful performance. Spall is remarkably tetchy until a revelatory moment of his own. And Mirren shines as June quietly holds everyone together.

Because it's set during the holidays, there are opportunities for the family to gather in pointed moments, such as a lively nativity staged by the grandchildren. Winslet directs the film beautifully, keeping the focus tightly on the actors to find underlying thoughts and feelings in every scene. She also encourages them to underplay their roles, which allows the humour to emerge naturalistically while avoiding even a hint of pushy sentimentality. Yes, it's deeply moving, but this is because it's a rare film that faces death honestly as a necessary transition.

themes, language 11.Nov.25

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