Sometimes, when you have a small audience that sees a film out of a festival, they put out thoughts into the world as to not spoil the eventual film’s release. I feel like that happened with Eileen, but in a way that did not represent the film. Luckily, as this film was available to me for my consideration with audio description made possible by Neon, I was able to actually understand what this film was about.
Previously, the general vibe from the festival crowd was something about a prison, a young Thomasian Mackenzie working there, and how the introduction of Anne Hathaway as an older lesbian doctor changes her trajectory.
Well, no. Not really. I also suppose that because Eileen takes big swings, it is nice for you to think that is a quick summary of the plot. i only fear people come into this expecting some odd version of Carol or Notes On A Scandal, which this film is neither. This film takes a trio of people who are all on some level unwell, and puts them on a course that takes a surprising third act twist.
Yes, Anne Hathaway plays a lesbian therapist, and Thomasian Mackenzie is in this film, but spends most of the time taking care of her wild card father (played by the consistently undervalued Shea Wiggham) which clearly is taking its toll on her. By the time you get to the third act, it is likely that the choices made are less due to Hathaway, and more because of her continued exposure to her explosive father. It’s complicated, and if that’s not e enough, this is also not really a specific genre. It mashes together everything to resemble a dark comedic thriller. There are elements here at play that show me that from script to screen, this film was always a big screen, and I love when people take those kinds of risks.
For Hathaway, who continues to flesh out her resume with a wide array of characters, or Wiggham who slides into any role, it’s not as impressive. But for Mackenzie, who seems to be expanding the depth of her range after last years Last Night In Soho, it is one more reason to keep any eye on her.
I don’t want to spoil this film, as it does take a sharp left turn at a point in the film, but I did want to represent it as something perhaps a bit more accurate. This is something that never really had a shot at Oscar glory, but has every shot at slowly being discovered over time and developing its own cult following. You may not have heard of this film now, and that’s fine. Donnie Darko made almost nothing at the box office upon release. Neither did The Boondock Saints, or Idiocracy. Yet now it seems impossible to not have seen those films.
Could that be Eileen? It’s very possible.
Final Grade: B+