Benedict Cumberbatch reveals how his new film hopes to change the ways we think about grief

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Benedict Cumberbatch believes his latest movie, The Thing with Feathers, could offer a new perspective on how people experience and understand grief.

This intense and moving drama is inspired by Max Porter’s acclaimed 2015 book, Grief is the Thing with Feathers – a story previously seen on stage with Cillian Murphy. It centers on a father trying to cope with the loss of his wife, and his life is unexpectedly complicated by the persistent presence of a large crow.

Movies about grief are common, but often feel softened or simplified to appeal to a broader audience. This film intentionally avoids that approach, aiming for a more honest and raw portrayal of loss.

Crow, voiced by David Thewlis, is a huge and frightening character in the film. He constantly harasses Cumberbatch’s character, putting him down and making fun of him, ultimately causing him a lot of pain. Essentially, Crow represents the overwhelming and chaotic feeling of grief itself.

You know, as a film fan, I’ve noticed that the creative process rarely happens in a clear, step-by-step way, despite what people say. Sure, you can break it down into stages if you want, but it’s more like you’ll be making progress, feeling good about where you are, and then suddenly you’re back at the very beginning. It’s messy and unpredictable, honestly – you’re constantly circling back on things.

As a huge movie fan, I always wonder what it takes for actors to dive into such heartbreaking roles. Seeing Cumberbatch portray such all-encompassing grief, I imagined it must have been incredibly challenging to tap into those intense emotions. But he’s said that with a story this powerful and complex, it actually wasn’t difficult to feel the character’s despair and devastation – the material itself really guided him.

He also shared personal stories, hoping they would give the audience practical insights from the film.

Everyone experiences loss and sadness at some point, and that’s a big reason I wanted to be involved with this film – both as an actor and a producer. It deals with a difficult subject that people don’t often talk about openly.

It feels awkward for us to talk about death or grief, and that avoidance actually hurts us. Most other cultures, especially indigenous ones, address these topics openly and honestly, simply accepting them as part of life. That acceptance is a true gift, especially when life is short – it’s incredibly important.

Look, after watching this film, the biggest thing that stuck with me was its permission to feel. It really gets into the messy, overwhelming experience of grief – the kind that’s unpredictable and just plain hard to describe. And it’s particularly poignant if you consider the perspective of a father suddenly raising two kids without a mother. It’s a powerful reminder that it’s okay to be completely lost and vulnerable in the face of such loss – truly, it’s okay!

Cumberbatch loved Porter’s book for years, but he was hesitant about a movie adaptation until he read the script. Once he did, he remembered how vividly he’d imagined the story while reading the book and realized the script perfectly captured that same feeling.

He described it as wonderfully inventive, explaining that despite dealing with a dark and serious topic, the creative approach immediately captivated him. He was particularly impressed by how effectively the story translated Max’s excellent novel to the screen and drew him in right away.

When Southern first read the book – he finished it in just two sessions – he immediately thought it couldn’t be made into a movie.

He explained that within two weeks, he was meeting with Max, trying to convince him to let him adapt the book for the screen. He believes Max appreciated his honesty, saying he didn’t pretend to have all the answers, but wanted to create a film that stayed true to the spirit of the book while also being unique.

He explained that what’s special about this story is its ability to be reinterpreted and retold in many different ways. It’s already been adapted into a play and will soon be a puppet show, and even within the film itself, the main character is creating another version of the story. He believes it’s a story that resonates universally yet is deeply personal, and that’s why it continues to be retold – this film is just one example of that ongoing process.

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2025-11-20 21:05