“To be, or not to be, that is the question” is famously spoken by Prince Hamlet in Shakespeare’s Hamlet. But in Elsinore, the question takes on a whole new meaning.

Set in 1989, Elsinore follows actor Ian Charleson (Andrew Scott), who is struggling to find a substantial role after being defined by his breakout performance in Chariots of Fire. With a longing to return to the stage, Charleson finally gets the opportunity he has been waiting for when Daniel Day-Lewis storms offstage during a production of Hamlet at the National Theatre.

There is just one problem: Charleson has AIDS and Kaposi’s sarcoma lesions, and in 1989, a diagnosis like this was likely to be a death sentence. Knowing that his time is limited, Charleson is determined to give the performance of a lifetime. He turns to Doctor Margaret Johnson (Olivia Colman) for treatment, but while she urges him to rest, Charleson refuses to slow down. He is determined to play Hamlet, whatever the cost.

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This is where the question comes in. Charleson can choose the role he has waited so long to play, the one that gives him satisfaction and meaning, or he can choose to live a longer but slower life through treatment and rest. But for Charleson, this isn’t really a question at all. He knows what he wants, and nothing is going to stop him from stepping onto that stage.

Scott gives one of his best performances as Ian Charleson, perfectly capturing his humour, strength and determination in a world that isn’t always welcoming. It’s a performance that sits at the heart of the film and ultimately creates some of its most emotional moments. However, he is supported by some incredible performances throughout the rest of the cast, who each bring something important to Charleson’s story.

This includes Colman as the doctor who helped establish the UK’s first open-access clinic for those living with HIV and AIDS, and who treated Charleson while he was preparing for and performing in Hamlet. The relationship between the two may be complicated, but Colman captures the compassion and frustration of being a doctor at this time incredibly well. She wants nothing more than the best for her patients, even when that means challenging what they want for themselves.

Additionally, Peter Mullan shines in the little screen time he has as Charleson’s father, particularly in a short but effective scene as they leave the clinic. Luke Thompson also makes an impression as Georgie Randall, while Billie Piper brings warmth to the role of Charleson’s best friend, Patsy.

But Charleson isn’t the only person experiencing this horrific illness, and the film makes sure to show that. As Patsy says, “there are too many beautiful men dying.” On Doctor Johnson’s ward, the men look out for each other, creating a real sense of community in the face of something so devastating. There’s a particularly beautiful moment when Charleson helps a young boy on the ward live out his dream, dancing to a disco remix of There’s No Business Like Show Business. It’s a small moment of joy in the middle of so much sadness, and one that captures the warmth running through Elsinore.

Another beauty of the film is that it was shot on location. The moment Charleson walks up to the National Theatre, I got goosebumps. It was a real joy to watch the film so close to where it was filmed, especially knowing that these are the same places where Charleson lived and worked. There’s something really special about seeing his story brought to life in the very places where it happened.

One of the film’s greatest strengths is the way it balances the tragedy of Charleson’s situation with the joy he still finds in life. The film could’ve easily become a heavy watch, but instead, there is a warmth running through the story. Charleson’s humour and determination make it feel like a celebration of his life as much as a story about his illness. The film never forgets the reality of what he was facing, but it also never lets that become the only thing that defines him.

In truth, Elsinore is a tragedy, but at the same time, the story is full of laughter and light. It’s a reflection of the time in which it is set, but also a true story of drive, determination and ambition. More than anything, it is a reminder to live our lives the way we want to, rather than by someone else’s rules.

★★★★★

In cinemas from January 29th 2027 / Andrew Scott, Olivia Colman, Billie Piper, Luke Thompson / Dir: Simon Stone / Studiocanal UK / 15