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The Seagull (2018)

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In the early 20th century, an aging actress and her lover visit the estate of her elderly brother.


Michael Mayer


Anton Chekhov (play), Stephen Karam (screenplay)
4,079 ( 614)

Saoirse Ronan Through the Years

Take a look back at Saoirse Ronan's movie career in photos.

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2 nominations. See more awards »





Cast overview, first billed only:
Annette Bening ... Irina
Corey Stoll ... Boris
Glenn Fleshler ... Shamrayev
Billy Howle ... Konstantin
Brian Dennehy ... Sorin
Elisabeth Moss ... Masha
Mare Winningham ... Polina
Jon Tenney ... Doctor Dorn
Michael Zegen ... Medvedenko
Saoirse Ronan ... Nina
Ben Thompson ... Yakov
Angela Pietropinto ... Irina's Dresser
Barbara Tirrell Barbara Tirrell ... Olga
Elsie Brechbiel Elsie Brechbiel ... Natalia
Pippa Pearthree ... Eugenie


An aging actress named Irina Arkadina pays summer visits to her brother Pjotr Nikolayevich Sorin and her son Konstantin on a country estate. On one occasion, she brings Trigorin, a successful novelist, with her. Nina, a free and innocent girl on a neighboring estate, falls in love with Boris Trigorin.

Plot Summary | Add Synopsis


Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for some mature thematic elements, a scene of violence, drug use, and partial nudity. | See all certifications »

Parents Guide:

View content advisory »






Release Date:

26 July 2018 (Portugal) See more »

Also Known As:

A Gaivota See more »


Box Office

Opening Weekend USA:

$79,016, 13 May 2018, Limited Release

Gross USA:

$1,252,960, 16 August 2018
See more on IMDbPro »

Company Credits

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Technical Specs




Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


A film adaption of the classic play The Seagull by Anton Chekhov. See more »


Annette Benning can be seen smoking a cigarette with a filter on it. Filters were not introduced until 1936. See more »


Masha: Don't look at me like that. A lot of women drink. Just not as openly as I do.
See more »


Méditation, Op. 72 No. 5
Written by Pyotr Ilyich Tchaikovsky
Piano by Brian Usifer
See more »

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User Reviews

"We didn't need dialogue. We had faces!"
15 June 2018 | by richard-1787See all my reviews

I thought of that line from Sunset Boulevard several times this afternoon as I sat, the only person in the theater for a 2:50 matinee, watching this *Seagull*. Not that the script, based on Chekhov's play of the same name, was negligible. To the contrary. It was well delivered by a cast who, for the most part, knew how to do so with telling effect.

But what struck me, over and over, were all the close-ups of the faces. Wonderful faces, characterful faces, belonging to actors young and older who never knew the silent screen era and yet know how to act just with their faces. Faces often perfectly lit, so that we saw the fresh beauty of the young - Saoirse Ronan, as Nina, out on the lake with Boris Trigorin and elsewhere in the early parts of the movie - and the cruel wrinkles and crowsfeet of those to whom time has not always been kind (Annette Bening, as the aging actress Irina, who delivered her dialogue wonderfully, but did so much more with her face alone when she considered, at the odd moment, that she might in fact no longer look appealing to her younger lover, Trigorin). If you like to watch actors act with their faces, as Norma Desmond and her generation knew how to do, you will find this movie a feast for the eyes.

But it is also beautifully filmed. The exteriors were evidently shot up in northern New York State, and they are like landscape paintings. The interiors, with period costumes, are wonderfully shot as well.

But it is the performances that you will remember. In addition to those already mentioned, Brian Dennehy, now 80 years old, is winning as the aging Sorin. Billy Howle does a fine job with the young playwright Konstantin, so convinced that he sees a new way to do theater and yet so very wrong. I was less captivated by the Doctor and Boris Trigorin. Elisabeth Moss had a difficult assignment, because Masha is such an unsympathetic character, particularly self-centered in a story about self-centered people.

Another thing that struck me repeatedly as I watched this movie was how cruel most of the characters are to each other, in their own very decorous ways, mostly because they are so wrapped up in themselves that they do not consider those around them. Well before Antonin Artaud and Jean Genet, *The Seagull* is definitely an example of the theater of cruelty.

Because this was released in the summer, it will, I suppose, be forgotten by Oscar time. More's the pity. There is a lot of very good work here, in the acting, the lighting, the cinematography and the direction. This is definitely a movie that could be savored more than once.


I subsequently reread the play, in Laurence Senelick's 2006 translation. I was surprised to see how much of the script is taken verbatim from that. The person who did the fine screen adaptation removed references to things that contemporary audiences would not know, shifted locales for certain episodes to produce the sort of visual variety you can't have in a play but need in a modern movie, and trimmed back certain passages so that subsequent events, such as Nina's appearance at the estate near the end of the movie, come as more of a surprise. Other than that, this movie is a remarkably faithful transfer to the screen of Chehkov's play.

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