The art of translating from page to screen is always a risky endeavour. Some stories that are complemented by the written word lose  something upon their transference to film. Eileen’s literary roots are evident, with the narrative feeling like the perfect psychological short story or slow burn novel that ends up translating as slightly lacklustre as a feature length film. Based on the 2015 novel of the same name by Ottessa Moshfegh, Eileen follows the eponymous main character (Thomasin McKenzie) working at a juvenile prison in 1964 Massachusetts. It begins by depicting the mundanities of Eileen’s life, whilst also exploring the resentment she harbours for her abrasive alcoholic father and exposing dark intrusive thoughts that startlingly play out as if they are happening in real time. Eileen’s life is turned upside down by the introduction of Rebecca (Anne Hathaway) sporting a pristine blonde hairdo and overflowing with confidence. Rebecca takes on the role of the prison psychologist, with an aim to make some changes to the current running of the prison and expressing a particular interest in one of the inmates and his backstory. As Rebecca and Eileen’s relationship develops, the audience begins to wonder if there is something more sinister lying just beneath the surface of both characters.  

Whilst the film features a slow pace throughout the first act of the film, it successfully builds a suspenseful atmosphere that hints towards a revelation worthy of the thriller genre. Eileen feels as though it is creepily building to a dramatic moment needed to really set it in motion, but, after a shocking confession in the climax of the film, this feels overly rushed and is not given enough time to be satisfactorily explored. Just as it is gaining momentum, the film appears to lose control over its narrative and ends on a note of unfulfillment and mystery. So much room is left for the psychological exploration of the film’s characters and their motivations, but we do not reap the rewards of the set up of their emotional journeys that the film provides. Having gone into the film not really knowing what to expect and feeling like it struggled to find its footing for a majority of the runtime, my jaw physically dropped at the pinnacle exposing moment. I applaud the film for its ability to be truly shocking, but wish the consequences of this plot twist had been executed more delicately rather than being hastily contained by a rushed and ambiguous ending. 

Similarly to the plot, the relationship between the two women is unpredictable and undefined. Eileen leaves many unanswered questions, including the nature of the dynamic between Eileen and Rebecca. Eileen appears instantly drawn to her new co-worker, craving her approval and showing a deep fascination into the life of this glamorous older woman. The film suggests a romantic connection between the two, though never fully explores the nature of their relationship. In a scene evoking the switching of names in the 2007 novel and 2017 film Call Me By Your Name, Rebecca tells a group of men in a bar that her name is Eileen, and introduces Eileen by her own name. Rebecca subsequently invites Eileen onto the dance floor, and the two engage in a visual display of their developing intimacy. Rebecca spurns male attention, even becoming violent towards a man trying to interrupt their dancing. When Rebecca then invites Eileen over for Christmas, it appears as though this is a defining moment for their relationship, and Eileen’s excitement at the prospect is evident. However, what the film cleverly conveys is how both Eileen’s and the audience’s expectations are quickly shattered by what Rebecca has to reveal. Just as Eileen begins to question her relationship with Rebecca and how much she truly knows her, so is the audience questioning her motivations and how much either character can truly be trusted.

Interestingly, the film also highlights the reversal of the character’s statuses from this moment on. Just as Eileen and Rebecca switch names in the bar, their personalities undergo a similar exchange. Eileen is transformed from the unassuming, plain girl we see at the beginning of the film to one fuelled by power and conviction, whilst Rebecca deteriorates from the influential and in control vision with whom Eileen becomes infatuated to a dishevelled and frightened shell of her former self. 

Despite having stunning performances from Hathaway and McKenzie, the film ends with so much unexplored potential. Eileen is a promising psychological drama that to some may have the perfect level of ambiguity and intensity, but left me hungry for more.