The Dig

The elegance in The Dig lies in what it says about the continuity of life rather than the finality of death.

It's remarkably moving. By Jupiter, I even cried by the end.

This bittersweet tale of the unearthing of the Sutton Hoo treasures on the eve of the second world war has gentle charm to spare.

The Dig is a movie steeped in the inevitable passage of time, but it's also a reminder that the past lives on through the things we leave behind.

None of this would have worked without the presence of such fine actors.

Had the narrative stayed the course established in the early-goings, it might have been unremarkable but satisfying. As it is, there's too much of the former and too little of the latter.

Poetic, wistful and elevated with exquisite imagery, The Dig romanticises the unearthing of history.

It’s really something when a film is not too concerned with the aesthetic but will find the beauty in discovery of one’s own. The Dig is a good picture, wonderfully acted (Ralph Fiennes is tremendous here), and an engrossing reimagining.

The Dig’s story may be a tad overstuffed, but its entrancing ensemble – which features standout stars such as Carey Mulligan and Lily James – invites investment.

There’s an almost Malickian beauty to how cinematographer Mike Eley shoots these early scenes. The fluidity of his camera movements, the striking angles, the way nature is admired through his lens – its absolutely gorgeous filmmaking.