'Eileen,' starring Thomasin McKenzie and Anne Hathaway, is an intriguing romance-mystery that never quite goes where you're expecting. Our Sundance2023 review:
Eileen, the first film from William Oldroyd since 2016’s Lady Macbeth made Florence Pugh a star, is more defined by what it isn't than what it is. Like his previous film, Eileen is an exercise in restraint, as this story, based on Ottessa Moshfegh’s book of the same name and with a screenplay written by Moshfegh and Luke Goebel, zigs where you expect it to zag, always defying the audience's expectations.
But Eileen might have found what she's looking for in Dr. Rebecca St. John , a prison psychologist who thinks differently from the rest of the facility, and befriends Eileen, opening her up more than the meek person she’s seemed to be. In one beautifully structured scene, with gorgeous cinematography from Ari Wegner , Eileen and Dr. St. John go out to a bar, bathed in red neon light, as they learn more about each other, and decide to dance with each other.
RELATED: 'Eileen': Anne Hathaway, Thomasin McKenzie & More on Adapting a Story That's "Not Everyone's Cup of Tea" But beyond this beautiful recreation of the 1960s and these performances, Eileen’s strength comes in its screenplay. Like Moshfegh and Goebel’s screenplay for last year’s Causeway, there isn't a rush to Eileen, as we often sit with these characters, and watch them figure out their situations. For example, in one sequence where Eileen comes over to Dr. St.
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