This year’s Sundance Film Festival showcased films focused on mental health, grief, and family issues. Renowned documentary filmmaker Dylan Southern returned with his latest project, The Thing with Feathers, adapted from Max Porter’s 2015 novel, Grief is the Thing with Feathers. The film follows the heart-wrenching journey of a grieving father, portrayed by Benedict Cumberbatch, as he navigates the emotional landscape following the sudden death of his wife.
In this gripping tale, Cumberbatch’s character, simply referred to as “Dad,” faces the unimaginable task of informing his two young sons, Richard and Henry Boxall, of their mother’s passing. The film highlights the deep emotional scars inflicted on the family and the challenges they encounter while attempting to heal. As Dad grapples with his loss, he embarks on completing his latest graphic novel, which further draws his focus away from his grieving children, leading to tension and conflict that enhances the narrative’s depth.
The unfolding story reveals Dad’s struggle as he becomes increasingly overwhelmed by his dual responsibilities of mourning and parenting. Even simple daily tasks, such as making breakfast or finding clean clothes for his sons, begin to feel insurmountable, and this overwhelming sense of duty directly impacts his children. Southern employs creative storytelling techniques to manifest Dad’s spiraling mental state, integrating a surreal element into the film where a black crow emerges as an ominous symbol of his grief.
The crow serves as both a presence of comfort and a harbinger of impending chaos. Its first appearance happens in a haunting moment when one of the boys awakens to find a black feather on his pillow, suggesting a connection between the supernatural and the emotional turmoil of grief. Southern skillfully examines these themes, intertwining grief with elements of horror artfully, though with mixed effectiveness. Audiences witness the crow’s evolution from a mere bird to a human-sized figure, embodying an imposing force pushing Dad to confront his emotional pain and care for his children properly.
While the film attempts to weave horror elements into its narrative, the overall execution leaves room for improvement. The crow’s appearances, often accompanied by rising tension in musical scores, establish a sense of dread. However, one could argue that the film’s horror aspects detract rather than enhance the core themes of grief and healing. Rather than serving as a horror movie, The Thing with Feathers acts more as a reflection on the devastating impact of untreated grief, pushing viewers to consider the ramifications of neglecting emotional struggles.
The narrative divides into three acts—Dad, Crow, and Boys—allowing for multiple perspectives on how grief manifests within a family. Cumberbatch’s portrayal of a father sinking beneath the weight of his sorrow resonates deeply, while his sons begin to address their grief through activities that honor their mother. This contrast illuminates the importance of exploring diverse avenues of acceptance in moments of loss, showcasing the detrimental consequences of avoidance and neglect.
Despite its ambitious concepts, the execution of the film doesn’t completely land. With a runtime of 98 minutes, it occasionally feels longer than necessary due to its segmented structure and the confused intertwining of horror themes. The unclear nature of whether the crow is a haunting presence or a projection of Dad’s sorrow creates a disconnect between the storyline and the audience, making it harder to connect with the emotions portrayed.
However, one undeniable highlight of the film is Cumberbatch’s performance. His depth and commitment to the role bring a complexity that overshadows many of the script’s shortcomings, allowing him to transcend the limitations of the material. The heart-wrenching portrayal of grief becomes palpable, echoing in the film’s quiet moments and leaving an imprint long after the credits roll. Even the young actors playing the boys are given opportunities to express their grief, enriching the storyline with their emotional performances.
Southern’s sincere approach to the delicate subject matter is evident, and while the horror elements feel somewhat underdeveloped, the film’s exploration of grief is grounded in genuine emotion. Cumberbatch’s strong performance brings a necessary focus to the film and showcases his remarkable ability to convey complex emotions through his expressions and interactions.
The film’s overall impact may vary among viewers, particularly regarding how they perceive the merging of horror and drama. However, for those willing to engage with its themes, The Thing with Feathers serves as a poignant narrative about the struggles of navigating life in the wake of tragedy. As a contemporary examination of grief, it remains a relevant and necessary exploration of how individuals cope with loss.
In summary, Benedict Cumberbatch delivers a performance that resonates, capturing the raw essence of pain and longing amidst the backdrop of a family in crisis. Although the film may not fully succeed in its horror aspirations, it demonstrates that grief can take many forms, and each family member’s journey through it holds significance. The Thing with Feathers premiered at the 2025 Sundance Film Festival, offering audiences a glimpse into the complexity of loss, making it a film well worth experiencing, if only to witness Cumberbatch’s outstanding performance.