Anne Hathaway and Thomasin McKenzie Turn in a Truly Nasty Piece of Work with Eileen

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Anne Hathaway and Thomasin McKenzie Turn in a Truly Nasty Piece of Work with Eileen
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Gross, uncomfortable, hot. Welcome to Eileen, a garishly sexy showcase for Anne Hathaway and Thomasin McKenzie. bernieteeters' Sundance2023 review:

’s opening title announces itself as a sonic and visual jump scare. Brusque and brightly colored, the font is carnivalesque, inviting the audience into an obviously twisted ride that relishes its own nastiness. Moments later, Eileen arrives, seated in the same car in a different time and place: A local Massachusetts beachfront makeout spot, where she is a lone voyeur to couples hooking up in their own vehicles.

When a sporty red car zooms through her periphery just as she’s taking out the prison trash, it seems that this disruption to director of photography Ari Wegner’s frosty Northeastern color palette could be just another one of Eileen’s escapisms. In a way the car’s owner Carol—I mean, the prison’s new Harvard-trained, bottle-blonde counselor Rebecca is Eileen’s greatest fantasy come to life.

The tension between Eileen’s desires and unbecoming outer world is what most successfully drives the film, and her too-quickly burgeoning relationship with Rebecca hits the exact pitch to overwhelm drab, depressing reality. Soon after their first meeting, Rebecca catches Eileen snooping through the file of Leonard Polk, a young inmate who brutally murdered his father.

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