“You are not saying what you think you are saying” was what Ray Nayler said to the Birmingham Science Fiction Group on Friday night, as part of a wider conversation about the mutual misunderstandings that result from cultural differences. He had landed up with the Peace Corps in Turkmenistan 20 years ago, “The worst place to live in the world”. It ripped away his sense of stability and the fixed nature of life he had developed growing up in San Francisco and made him realise that everything is arbitrary. His new book Palaces of the Crow is out next week, about a group of escapees on the run in a forest trapped between the German and Soviet armies in World War 2, with only a murder of intelligent crows as allies. I will be buying it.

And so to a different forest.

Last night I could not speak for half an hour. My face ached from the effort of holding myself together and tears were running down my face. No I wasn’t in the back of an ambulance on my way to Good Hope Hospital. I had just watched Hamnet for the first time.

I am peculiarly sensitive to father-son depicitions in art. I can’t remember when a film affected me as deeply as Hamnet did, but I do remember the last book that had me in floods of tears (The Road by Cormac McCarthy when (spoiler alert) the father of the boy dies. Suggest you don’t read it on a train like I did). Why should I cry for you by Sting also tends to have me in bits.

However Hamnet was still like nothing I have ever experienced before in a movie. It snuck up on me, this story of the fight to make a family and then keep it alive in a way that certainly didn’t feel over 400 years old before hitting me with the final scene which was, ultimately stagey for goodness’ sake. I felt connected – to the forest, to the plague-beset 16th century characters, to everyone who has ever lost a child, to everyone looking for connection to help them through their day. I have watched so much Shakespeare in my life, but I have never felt the urgency that must have lain behind the plays quite like this before.

This was just great art. Not in a way that impresses you but leaves you cold, but in a way that you realise has expressed the driving forces of life directly at your central nervous system.

And how close the film was to what really happened doesn’t matter. Any more than the plot accuracy of any of Shakespeare’s plays matters. It was emotionally true and believable and mourned the death of a child as every child death should be mourned. It made nearly every other movie I have ever seen seem trite by comparison, including the hugely entertaining but ultimately much less full Oscar rivals this year. This is the movie you stick on the next gold disc sent out on a probe into deep space to explain humanity.

And it immediately started me thinking about how infrequently I experience emotional truth outside my friends and family. Is this the missing component from public life?

Keir Starmer certainly wasn’t passing any auditions this morning. He was not saying what he thought he was saying. He thought he was saying something about training young people, being “at the heart of Europe” and nationalising British Steel. What he was actually saying was that he has no idea why he lost 1,496 English council seats over the weekend but, despite this, was going to hang on until someone removed him forcibly from office. And he is guessing, perhaps rightly, that the Labour Party does not have the determination to do so. It was the precise opposite of emotional truth or, as John Elledge posted:

“You are not saying what you think you are saying” is unfortunately true for nearly all of us nearly all of the time. Until it isn’t. And those moments when it isn’t are moments of enormous power.

And to think I still have Maggie O’Farrell’s novel to read. Or possibly the audiobook read by the great Jessie Buckley, Agnes Hathaway herself. May be hard to resist.