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Pressure (Anthony Maras, 2026)

The biggest surprise at my screening of PRESSURE (Anthony Maras, 2026) at Cineworld was the elderly woman in a wheelchair vaping huge clouds of smoke and a smell I initially thought was some kind of bubble gummy perfume. I was too stunned to think much of it other than admire her brass.

As to the film itself, about the impact meteorological predictions had on the scheduling of D-Day, the vast stakes in that decision, and the pressure that in turn placed on those making it, I liked it very much. It’s all rich browns and golds, with a nostalgic dimension, including singing of hymns at chapel, iconic images of England – the rolling hills, the stately homes, the variable weather – and, as a finale ,whether the protagonists’ wife lives and whether the child was safely born which could have been overegging but isn’t. But for the scene of the D-Day landing, it’s mainly filmed in medium-length shots and close-ups, an intimate focus on a great historical event. The main thrusts invites a comparison to current events – unlike the orange one’s thoughtless and impetuous war on Iran – this is measured, debated, down to the last detail, even to what is predictable about the weather. It’s a film that valorises facts, data, knowledge, method, argument, debate, discipline; and in which the loss of life is integral to the decision making. The film doesn’t make a direct comparison to current events but the juxtaposition inevitably arises.

The acting is admirable: Andrew Scott reliably excellent and nuanced – the sound he makes at the hospital near the end is so expressive and moving. Brendan Fraser surprised as Eisenhower; he is so physically unlike the pictures of the eventual President, but ends up utterly convincing; Kerry Condon is believable as Kay Summersby, Eisenhower’s no-nonsense, unflappable but sympathetic private secretary (and lover); and I adored Damian Lewis as ‘heigh-ho old chap’ bullyish Montgomery; it’s a turn but excellently done.

I enjoyed it much more than I thought and was surprised to be so moved.

Jose Arroyo

By NotesonFilm1

Spanish Canadian working in the UK. Former film journalist. Lecturer in Film Studies. Podcast with Michael Glass on cinema at https://eavesdroppingatthemovies.com/ and also a series of conversations with artists and intellectuals on their work at https://josearroyoinconversationwith.com/

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