Follows a group of fractured siblings who must come together under sudden and trying circumstances.
Chuck says:
Stepping behind the camera for the first time, Kate Winslet displays a firm hand with “Goodbye June.” A solid debut, the actress finds the proper tone through which to render its delicate subject matter from the start. Working from a script by her son, Joe Anders, the film looks at a family’s collective grief, as its matriarch approaches death’s door. The event serves as a reckoning for her children, a sign that it is time to put their petty differences aside, not simply for their mother, but for themselves.
Helen Mirren takes on the title role, one that finds the actress doing most of her scenes from a hospital bed. June has fallen ill, the cancer she’s battling finally getting the best of her. While her doctors might tiptoe around the issue, her son, Connor (Johnny Lee Miller) and three daughters, Julia (Winslet), Molly (Andrea Riseborough) and Helen (Toni Collette) sense that likely her life is finally winding down. Whether her husband, Bernie (Timothy Spall) is aware of this or living in denial is anyone’s guess.
Much of the film plays out like a vigil, family members huddled around and beside June’s bed, catering to her every need, hoping against hope that what they fear may happen can be avoided. Of course, being in such close proximity to one another under such tense circumstances is likely to create some friction and it isn’t long before old grievances and long-held animosities between the siblings erupt.
Molly, a bit scattered what with raising four kids and dealing with a well-meaning husband (Stephen Merchant) who’s not as much help as he should be, has resented Julia for years. The model of stability and a people-pleaser, the elder sibling has been aware of this for some time but has been hesitant to deal with it. As for Helen, she’s the prodigal child, having left home and embraced a New Age lifestyle no one in her family understands. She means well but the others are irked by her act of self-exile. As for Connor, the fact that he still lives with his parents and has no direction is an issue they’ve all been unwilling to address.
Needless to say, all of these issues are dealt with, the urgency of June’s situation lighting a fire under them all. For the most part, these moments are handled deftly, as the veteran cast knows how to walk the line between pathos and melodrama. None of the sentiment is forced, Winslet providing her cast with long takes in order to let these scenes develop and proceed with a natural rhythm. It’s a smart choice and helps ground the film, as does Winslet’s no-nonsense style, as she eschews visual artifice at every turn.
This helps negate some of the familiar troupes Anders leans on as well as some cringe-worthy moments. A nativity scene played out by June’s grandchildren towards the end seems forced and is a bit too cutesy to take seriously, while Bernie’s shenanigans – acting as if nothing is amiss before finally breaking down – comes off as trite, despite Spall’s efforts. Anders’ would do well to apply a shaper edge to his writing in future efforts.
Yet, there are enough sincere moments between the siblings along the way and a truly beautiful ending to help “June” save it from itself. Winslet’s firm approach to the material and sincere performances from the members of her cast make for a solid enough weeper, one that might make viewers take stock of their own family situation and mend some tattered fences before it’s too late.
3 Stars
Pam says:
“Goodbye June” is a tender meditation on family, the life cycle, and the bittersweet moments that shape us from beginning to end. Kate Winslet makes her directorial debut with a screenplay written by her son, Joe Anders, inspired by his experience of losing his grandmother. The result is an intimate, emotionally grounded family drama that feels both personal and universal.
Winslet brings a clear, compassionate perspective to the material, one she discusses with Chuck Koplinski in a recent interview that you can find on our YouTube channel, inviting audiences directly into the family’s dynamics. The story centers on a group of siblings led by the fiercely successful Julia (Winslet) who reunite when their matriarch, June (Helen Mirren), is hospitalized and nearing the end of her life. Set within the United Kingdom’s health care system which is a stark contrast to the US system, the film follows the family as they rally together, clash over long-standing grievances, and grapple with what life has been and wrestle with the future.
June is married to a loving curmudgeon played with warmth and ease by Timothy Spall. Even from her deathbed, June finds ways to orchestrate reconciliation, pushing Julia and her estranged sister Molly (Andrea Riseborough) to confront years of unresolved conflict. Another sister, Helen (Toni Collette), arrives eight months pregnant just as the Christmas holidays approach, bringing her own complicated relationships and emotional volatility into an already charged atmosphere. Connor (Johnny Flynn), the siblings’ brother and his grandparents’ caregiver, serves as a calming presence while quietly struggling with his own transition into adulthood. This could definitely be anyone’s crazy family and dynamics around stressful situations like holidays and illness.
At times, the narrative becomes weighed down by the sheer number of sibling storylines, unfortunately, diluting the focus. Still, the film’s emotional core remains strong, especially in its holiday setting, where themes of forgiveness, acceptance, and moving forward resonate most clearly.
Winslet, Riseborough, and Collette are seasoned performers whose impeccable timing and emotional precision elevate the material of the siblings. Each creates a fully realized, believable character, capturing the chaos, love, and friction that define family life. Of course, Hirren and Spall never overdo their roles and perhaps even remind us of our own parents or grandparents. It’s this level of authenticity that makes the story resonate no matter your family.
“Goodbye June” is not without its flaws, but it is a worthwhile and affecting directorial debut. Winslet proves she is as assured behind the camera as she is in front of it, and the film also signals a promising future for Anders as a screenwriter.
3 stars
