Eileen

Ottessa Moshfegh is one of the most polarizing names in the modern literary world. Her novels are equally beloved and berated by critics and readers alike, and she specifically draws controversy for her blunt grotesqueness and lack of fear of the questionable. 

Her crossover to the film world has been, for lack of a better word, more understated. Her feature screenwriting debut, Causeway, got decent reviews by critics and even scored Bryan Tyree Henry an Oscar nomination. 

Causeway, however, is not Ottessa at her most… Ottessa. It is a quiet, mediative depiction of PTSD. But Eileen, her second screenplay, is an adaptation of her own novel. For any fan of hers, that was instantly more appealing. Eileen is a fascinating, dark novel full of twists and incredible characterization. It’s a shame that it really does not work as a film.

The bare bones are there, as the plot remains interesting and entertaining. However, what makes Eileen good on paper is the inner thoughts of the main character and how those create tension. Frankly, without those, the intrigue just isn’t there. The viewer is privy to moments of sapphic pining between Eileen (Thomasin Mckenzie) and Rebecca (Anne Hathaway), but there simply is not enough of them to make the twist not seem stupid on-screen. The novel isn’t even that long, but a longer film would make up for the severe lack of characterization given to the characters.

What you learn is this: Eileen is horny (shown by three sexual fantasy scenes near the start that are forgotten the second Rebecca appears), she has an abusive father, and she’s gay. There is absolutely nothing given to the viewer besides that, and honestly it leaves me wondering if this was even the right novel to adapt. When a novel focuses so much on the inner-workings of the character, you need to show the viewer more of that in the film. Any sort of twist is out of place due to the mystery and tension just being non-existent. 

What keeps Eileen from being a downright failure is its vibe and the acting. I love a good 1960s aesthetic and I’m instantly sold on any sapphic film. As for the performances: I guess Thomasin Mckenzie tried. I am never sold on her accent: it sounds vaguely Massachusetts-ish for a while before she gives up and goes back to her natural Australian accent. But then there’s Anne Hathaway.

I am in love with Anne Hathaway in every way possible. I’ve loved her from the start, and I’m loving her even more during this so-called “Hathissance”. Her past two performances going from a stern mother in Armageddon Time to a sexy sapphic therapist here is everything and more. What she does here sells the entire movie, and provides the bulk of what little insight we get for why Eileen does everything she does. Like yeah, I would do anything for blonde Anne. I get it.

She’s also matched by a scene-stealing monologue from Marin Ireland, who is absolutely amazing here but is again ruined by the lack of any characterization for her character. With how phenomenal and heartbreaking Ireland’s monologue is already, I can only imagine how much better it would be if the script had actually developed the tension around her situation. 

For a sapphic thriller, Eileen works for what it is. I’m in love with the novel and what the film tried to be, but the execution just wasn’t there. Anne Hathaway was a joy, and I am still hopeful that the film adaptation of My Year of Rest and Relaxation will be a significant improvement. But until then, long live pining lesbians!

6.5/10