After making a name for herself as two iconic queens, Claire Foy steps into uncharted territory with a deeply personal performance in H for Hawk, a poignant film about loss, healing, and self-discovery. Released on January 23, 2026, the film marks a departure from Foy’s royal roles, including her celebrated portrayal of Queen Elizabeth II in The Crown and Anne Boleyn in Wolf Hall. As she leaves the throne behind, Foy embraces a new kind of storytelling rooted in everyday struggles rather than regal grandeur.
From Crown to Hawk: A Personal Evolution
Claire Foy’s breakthrough role as Queen Elizabeth II catapulted her to fame, earning her critical acclaim and a global following. Yet, as the 41-year-old actress looks back on her career, she acknowledges the transformative impact her royal portrayals have had on her professional life. In a recent interview, Foy reflected, “It’s like the biggest promotion you can imagine,” referring to her time on The Crown. Despite the success and allure of regal roles, Foy is clear about her decision to move on: “There aren’t that many queens, and I did two of them! I think any more would be weird,” she remarked candidly on January 20, 2026.
Her shift to H for Hawk could not be more different. In this film adaptation of Helen Macdonald’s memoir, Foy plays the lead role of Helen, a Cambridge professor struggling with the sudden death of her father. Portrayed by Brendan Gleeson, Helen’s father was a photojournalist whose passing sends her into a spiral of grief. The film, which tackles the messy, often isolating nature of mourning, explores how Helen turns to an unlikely companion—a wild goshawk named Mabel—as a means to cope with her sorrow. The healing process is long, difficult, and far from straightforward, mirroring the reality of those who endure profound loss.
In her portrayal of Helen, Foy delivers an intense, introspective performance. According to the Mercury News, Foy’s Helen is a “brittle, aching character” who isolates herself from those who care about her. As Helen becomes obsessed with training the hawk, she shuts out everyone, including her best friend and family. The film’s emotional weight is enhanced by the frequent use of flashbacks, which delve into the complex and loving relationship between Helen and her late father.
While Foy’s performance is lauded for its rawness and subtlety, the film itself doesn’t offer easy resolutions. Critics have noted that H for Hawk refuses to provide tidy answers or a neat conclusion to Helen’s journey. Instead, it leaves the audience to grapple with the messiness of grief, portraying healing as an ongoing, often invisible process. In this way, the film differs from traditional stories of loss by rejecting the notion that time or closure can fully heal wounds.
As Foy embraces roles that challenge her in new ways, H for Hawk stands as a testament to her versatility. Where her royal portrayals required her to embody public figures defined by duty and restraint, her role in H for Hawk demands vulnerability and introspection. Foy’s decision to move away from the spotlight of royalty and into more personal, grounded stories underscores her commitment to exploring the human condition in its most unguarded form.
With the release of H for Hawk, Claire Foy proves that the most powerful stories are those that resonate on a deeply human level. Her transition from queen to hawk is not just a change of scenery—it’s a reflection of her artistic evolution, one that invites audiences to confront grief, healing, and the strength found in embracing pain. The film’s honest depiction of mourning is a fitting new chapter in Foy’s career, marking a bold departure from her past roles while still showcasing the quiet strength and dignity that have defined her performances.
