Name: HAMNET (12A)
Start: 2026-05-26T19:30:00+01:00
End: 2026-05-26T21:30:00+01:00
Location: Tansley Village Hall, Church Street, DE4 5FH Tansley, United Kingdom

The door opens at 7 pm. The film starts at 7.30 pm.
Book at ticketsource.co.uk/TansleyFilm paying £5.42 (including fees) by card and choosing your seats. You can cancel yourself if you need to getting a full refund for the ticket price (not the fees).
You can also ...
o use the free telephone box office service at 0333 666 4466
o email [email protected] saying where you like to sit and we will reserve seats for you that you pay £6 for in cash at the door.
o walk-in (without booking) for £6 cash.
UK Release 9th January 2026.
2 hours and 5 minutes.
Jessie Buckley, Paul Mescal, Emily Watson, Joe Alwyn.
After losing their son Hamnet to plague, Agnes and William Shakespeare grapple with grief in 16th-century England. A healer, Agnes must find strength to care for her surviving children while coping with her devastating loss.
See a trailer at

.
Peter Bradshaw, Guardian, 5/5.
This film succeeds, not because it solves the mystery, but because it deepens it still further. It is contrived and speculative, but ingenious and impassioned at the same time.

Philip De Semlyen, Time Out, 5/5.
Zhao doesn’t just tell you about the healing power of art, she shows you. Prepare your tear ducts accordingly.
Robbie Collin, Daily Telegraph, 5/5.
What Hamnet leaves you with isn’t sadness, but joy at the human capacity to reckon with death’s implacability through art, or love, or just the basic act of carrying-on in its defiance. It blows you back on to the street on a gust of pure exhilaration.
John Nugent, Empire Magazine, 4/5.
With strong performances in service to a clear, confident vision from Chloé Zhao, this is a wrenching contemplation of the “undiscovered country” of death and grief.
Clarisse Loughrey, Independent, 4/5.
It’s a deeply contemplative film, its candlelit shadows provided by cinematographer Łukasz Żal, as if painted by one of the Dutch masters. The camera focuses on spaces as opposed to people, moving as slowly as curtains drawn across a stage.