Disclaimer: This piece was written during the 2023 SAG-AFTRA strike. The Blogging Banshee fully supports those on strike and wrote this review in accordance with the SAG-AFTRA guidelines. You can learn more about the strike and how to show your support by clicking the link provided above.

With six sold out screenings, it’s safe to say Fantastic Fest audiences were excited about Eileen. Based on the novel by Ottessa Moshfegh, Eileen follows a young secretary working at a Massachusetts prison for teenage boys in the winter of 1964. When a beautiful psychiatrist begins working at the prison, the two women form a unique bond that leads them down a twisted path. The screenplay was adapted by Luke Goebel (Causeway) with director William Oldroyd (Lady McBeth) bringing the film to life.

Eileen is the definition of a slow-burn. The filmmakers take their time, fully developing the titular character. This allows the audience to get a deep understanding for how this unusual young woman’s mind works, even going so far as to show her various daydreams as if they are happening in real life. It creates a connection between the audience and Eileen, but it also provides insight into how and why her life has taken this bizarre trajectory. While the psychiatrist, Rebecca, is more of a mystery, the plot still slowly establishes her character and the relationship between the two women. Especially considering the era, Rebecca is clearly unconventional. She’s from the big city, she’s a psychiatrist, and she follows her own rules. As the two women become closer, it’s difficult to determine if this is a genuine relationship or one born of naivety and manipulation. It takes Eileen from just a period drama to something that leans towards being a psycho-sexual thriller.

With so much to enjoy about this story and interesting characters to connect with, it’s unfortunate that my takeaway from Eileen is that I wish there was simply more. Even in the most suspenseful moments, the audience will likely feel in the dark, never completely understanding what’s going on. There just isn’t enough meat to the plot to provide proper context to what’s shown on screen. It makes a majority of the film move too slowly, much of it in silence with just meaningful glances progressing the story forward. I have not read Moshfegh’s book, but perhaps the viewers who have read it will have that added context missing from the film to get the most out of Eileen.

While I wanted more from the plot in Eileen, there’s no denying it has fantastic performances. Thomasin McKenzie (Last Night in Soho, Old) stars as Eileen. Not only does McKenzie put on a surprisingly believable Massachusetts accent, but she also delivers a beautifully layered portrayal of this character. At first seeming meek and repressed, Eileen grows into a very different, confident woman by the time the film ends. Even though this evolution could be the work of psychological manipulation, it might be just what Eileen needed to break out of her own personal prison. Anne Hathaway (Interstellar, Colossal) stars as the alluring new psychiatrist, Rebecca. Hathaway gives her best transatlantic accent and dramatic flare, providing Rebecca with a glamorous exterior. The audience never knows the inner workings of Rebecca’s mind, but Hathaway makes it clear that the outward façade masks the character’s true intentions. Individually, McKenzie and Hathaway are both wonderful in these roles, but it’s when they share the screen that these two truly shine. The chemistry between them is so electric and comes across as both sexual and dangerous.

Visually, Eileen is a stunning work that transports the audience back to 1964. The costume design by Olga Mill (Hereditary) includes gorgeous looks that feel in keeping with the time period while also revealing a bit about each character’s personality. The production and set design also lend themselves to this era and the striking cinematography by Ari Wegner (In Fabric) creates breathtaking images, giving the audience a glimpse back in time. Eileen also boasts an impressive musical score by Richard Reed Parry (The Nest) that feels appropriate for the era and sounds reminiscent of noir films of the past.

Eileen is an eye-catching work of art with spellbinding performances, but the somewhat hollow plot might leave viewers wanting more. Without having read the book that inspired the film, I can’t say for certain if this is a faithful adaptation or if reading the book would help add context to the film. This lack of context leads to pacing issues and many lingering questions when the credits roll. That being said, Oldroyd has a clear artistic vision for Eileen that audiences will take notice of. McKenzie and Hathaway are mesmerizing, creating the beating heart of this film. There is so much beauty to take in that is on-par with the superb performances, ultimately making Eileen worth watching.

OVERALL RATING: 6/10