H Is for Hawk

Item: H Is for Hawk
Rating: 3
Author: Reel Dialogue

Grief and a goshawk

3.5/5

Animals, Death, Family, Fatherhood, Grief and trauma, Happiness

27 May 2026

Michael Walsh

Few modern memoirs have explored grief with the honesty and literary beauty of H Is for Hawk. Written by naturalist, historian, and falconer Helen Macdonald, the acclaimed memoir emerged from the devastating aftermath of her father’s sudden death. Rather than processing her loss through counselling, community, or routine, Macdonald immersed herself in the demanding and obsessive practice of training a goshawk—one of the most aggressive and unpredictable birds of prey. The result became both a meditation on mourning and a reflection on humanity’s complicated relationship with the natural world.

The film adaptation captures much of the same introspective spirit. Rather than reshaping the material into a conventional inspirational drama, director Philippa Lowthorpe leans into the silence, ambiguity, and emotional fragility that defined the source material. What emerges is an understated but deeply affecting exploration of grief, isolation, and the longing to escape the unbearable weight of being human.

After the sudden death of her beloved father, Helen Macdonald withdraws from the world and becomes consumed with training a fierce goshawk named Mabel. As grief drives her deeper into emotional isolation, the demanding relationship with the bird slowly forces Helen to confront loss, mortality, and the fragile process of learning how to live again.

At the centre of the film is an exceptional performance from Claire Foy. She captures Helen’s emotional fragmentation with remarkable restraint, avoiding melodrama while still conveying immense internal pain. Much of her performance is communicated through silence, body language, and emotional withdrawal rather than dialogue. The scenes shared with Brendan Gleeson as Helen’s father are particularly moving, grounding the story in a warmth and tenderness that makes the loss feel profoundly real.

Yet, the film’s most fascinating relationship is between Helen and Mabel herself. The goshawk becomes far more than a companion animal. Mabel mirrors Helen’s emotional state—defensive, untamed, difficult to approach, and almost impossible to fully control. The training sequences are mesmerising because they reveal how grief can cause people to retreat from humanity altogether. Helen increasingly seeks refuge in instinct, wilderness, and silence rather than the complexities of human relationships. In many ways, the bird becomes both an escape from grief and a reflection of it.

From a filmmaking perspective, H Is for Hawk is beautifully understated. The cinematography embraces muted natural colours, overcast skies, and earthy textures that visually communicate the heaviness of mourning. The score wisely knows when to disappear, allowing silence and birdsong to shape the emotional atmosphere. This is not a film interested in spectacle or simplistic emotional catharsis. Instead, it trusts audiences to sit within discomfort, ambiguity, and sorrow. That patience may not resonate with everyone, but viewers willing to embrace reflective storytelling will discover something quietly profound.

Ultimately, H Is for Hawk is a contemplative and emotionally intelligent meditation on grief, mortality, and humanity’s desire to escape suffering. Anchored by Claire Foy’s deeply restrained performance and the haunting presence of Mabel the goshawk, the film lingers long after the credits roll with quiet but undeniable emotional power.

REEL DIALOGUE: A bird’s-eye view of life and death

One of the film’s most fascinating ideas comes through Helen’s reflections on humanity’s relationship with nature. Rather than viewing the natural world as something distant or fragile, she recognises that humanity exists within creation itself. We are not detached observers—we are part of the same fragile world, shaped by the same realities of life, suffering, and death.

That perspective becomes deeply confronting when paired with grief. In nature, death is unavoidable. Seasons change, creatures perish, and decay becomes part of life’s rhythm. Helen’s sorrow forces her to confront something modern society often tries to avoid: every human being will eventually experience loss.

The Bible speaks honestly about this reality. It does not ignore grief or attempt to minimise suffering. Instead, Scripture acknowledges death as part of humanity’s broken condition while also pointing toward hope beyond it.

“He will wipe every tear from their eyes. There will be no more death or mourning or crying or pain…” — Revelation 21:4

Christianity offers more than merely coping with grief. It points to the hope of restoration through Jesus Christ—the promise that death and sorrow will not have the final word.

Perhaps the question worth considering is this: when grief strips everything else away, where do we turn to find hope?

About Michael Walsh

Michael Walsh is an avid film fan, missions mobiliser and graduate of Sydney Missionary and Bible College (SMBC). Growing up constantly either renting movies from the local video store, or buying movies with his pocket money to add to his collection, his love of film is surpassed only by his love of God, and his desire to make the Gospel known to all the ends of the earth.