Being a Taurus, I am known to be a quite stubborn person - however when it comes to films, I am always willing to give second chances. When I first caught Eileen at Sundance, I quite despised the film. I actively pondered how director William Oldroyd, the genius behind Lady Macbeth, could come out with a film as lackluster as Eileen for his sophomore feature? Plenty of factors can affect one’s experience with a film, and in the case of Eileen at Sundance, it was possible my disdain for the film came from the fact that I was cut out from doing the press line, or the unfulfilled speculations of a dark lesbian thriller, or the exhaustion of a long day at the festival. Many of my friends and peers really took to the film, so when I saw it was going to be part of the SCAD Savannah Film Festival’s lineup, I decided to go into again with an open mind. 

Set against the backdrop of a snowy seaside town in 1960s Massachusetts, Eileen (Thomasin McKenzie, Last Night in Soho) works as a secretary in a juvenile men's prison. She is sexually repressed and perpetually lost in daydreams of inappropriate sexual encounters. Her existence seems to revolve around her job and her role as a caretaker for her alcoholic father, played by Shea Whigham (Fancy Dance). Eileen longs for affection, a connection, and a life beyond her mundane routine. She seems to find that when the elegant new psychiatrist, Rebecca (Anne Hathaway, Les Misérables), arrives at the prison. Eileen quickly shifts her infatuations from guards and prisoners to the statuesque bleach blonde in the gorgeous coats. She also admires Rebecca's confidence and actual interest in the betterment of the boy's wellbeing. 

Unfortunately, McKenzie's performance falls short in capturing the essence of Eileen. I did enjoy her more upon my second viewing, however she never fully lets herself fade into the character. That added with her struggle conquering the Boston accent, as it occasionally fades into a puzzling tone that sounds almost Cockney, left me questioning the character's authenticity. The inconsistency in her dialect is a glaring distraction that detracts from the overall viewing experience. 

The film's promise of a dark and intriguing story remains largely unfulfilled. It flirts with the potential to explore the depths of Eileen's repressed desires and the psychological complexities of her relationship with Rebecca. Going in being told the film would be akin to a psychosexual Carol will leave viewers with disappointment. The film isn’t queer in the slightest, other than a single drunken kiss. The film teases at a more profound narrative, hinting at Eileen's yearning for affection and suggesting that Rebecca could be the one to offer it. However, this is left largely unexplored, little is ever expanded upon about Rebecca’s character, and the narrative remains superficial.

The film is a quick 97 minutes that blows by in a flash, which admittedly at a festival can be a godsend for one’s bandwidth, but in the case of Eileen, it leaves the story needing more time to ruminate with its darker themes. Given extra time, the script may have been able to expand beyond the current story’s limited scope and develop these storylines further. I have yet to read Ottessa Moshfegh’s novel which the film is based on, so perhaps the source material is more adept at fleshing out these characters and backgrounds. Still it’s tends to be a big ask to bring one’s own story from the page to the screen. The act of restraint worked in her last film, Causeway, which she also co-wrote with her husband Luke Goebel. Sadly the lack of development with these characters in Eileen, in particular Rebecca, makes the motives of the final act quite puzzling once the initial shock wears off. 

Eileen's transformation from a lonely and timid secretary to an independent free spirit could have been a powerful story, but the film never fully delves into the psychological depth required to make it resonate. It chooses a more conventional and shallow path, and this is where it falls short of the expectations set by its initial premise. It's only in short daydreams and the last twenty minutes of the film that we get a glimpse of what might have been. The story takes a dark and intriguing turn, and for a brief moment, the audience is captivated. Unfortunately, the film then leaves the viewer hanging, providing no fulfilling resolution to swift slow burn. Leaving an ending open to interpretation would have worked if its final moments weren’t so confusing. It feels more like Moshfegh wrote herself into a corner and instead of finding a way out she just cuts it off. The wasted potential is the most disheartening part of the film. 

Eileen has moments of promise but ultimately falls short. The film fails to fully embrace its psychosexual premise, leaving the audience with an underdeveloped exploration of its characters and an unresolved storylines. Thomasin McKenzie's inconsistent accent and the lack of authenticity in her portrayal of Eileen further hinder the film's impact. While Anne Hathaway delivers a solid performance, her character remains underutilized. Eileen had the potential to be a thought-provoking and emotionally charged exploration of repressed desires and human connection. If only it took a breath and slowed down it could have pushed the envelope and reached the depths necessary for such a premise. 

Acting and Casting - 1 | Visual Effects and Editing - 1 | Story and Message - 1| Entertainment Value - 1 | Music Score and Soundtrack - 1| Reviewer's Preference -1 | What does this mean?