If nothing else, Eileen gives me the excuse to say “erotic thriller” or perhaps even “psycosexual melodrama”. The film would fit nicely into either exciting subgenre descriptor, with the aggressive sexualisation of Anne Hathaway and obsessive tendencies of Thomasin McKenzie. We’re dropped into 1960s Boston, complete with thick accents and heavy snowfall, to tell a story of Eileen Dunlop (Thomasin McKenzie) and her journey of self discovery helped by newly hired psychologist, Rebecca (Anne Hathaway).

Eileen lives with her classically alcoholic father, driving to and from her job at the prison in her legitimately dangerous car, smoke emitting from the dashboard every time she drives it. She works at the boys prison, housing the youthful delinquents and hooligans. They boast a reputation of rehabilitation and care for the boys, focusing on psychology through Rebbecca’s services. She takes over from a retired doctor and shakes things up for prison admin Eileen. Eileen passes her time by distantly fantasising about some of the inmates and guards, until Rebecca comes in, with effortless self assurance and sensuality in her interactions. She takes a liking to Eileen, inviting her out for a drink and building a relationship with her. Just before Christmas, Rebecca clocks out and leaves Eileen without the new routine she has built up.
That story description is not the most in depth and action packed, but the story does lack in the action set pieces to relay. There are a few spoliery things that happen later on in the plot which shake things up, but for the most part, we are watching a slow tale about obsession and repressiveness. Eileen’s home life is dark and uneventful, in a routine of caring for her alcoholic father, who we are told is an ex police officer. She is widely unphased by his drunken shenanigans, only furthering her hatred for him bubbling up inside. The home is lit mostly by dim lamps or through the burning orange tungsten street lights bleeding in through the windows. It gives the space a dingy and uninviting feel to it, you never quite settle into the location.
The other location is the prison which is sterile, with clean floors and plain walls. The atmosphere in the admin office is judgy and disconnected. The two other admins are standoffish with Eileen, not making her feel included in the conversation. You feel her displacement in her own world, having to rely on her fantasies to get through the days.
Not until Rebecca comes in does she have a connection with any of the characters, she changes her outlook and approach to the world. Eileen begins dressing differently, wearing her mother’s old clothes, much to the disapproval of her dad.
We see the reflection of Eileen’s life changing through Rebecca, not only in her clothes but the lightness of the environment around us, briefly, we get relief from the darkness. This doesn’t completely last though, as that all important tension comes back in, making us suspiciously squint at the screen, questioning the motives and actions of everyone in the film.

Thomasin McKenzie hasn’t missed for me, in all the films that I’ve seen her in. She often plays a similar type of character, beginning meekly and warming to the audience and characters around her as the story progresses. This film is a bit of a darker side to that character, with a solid and satisfying accent too.
Anne Hathaway is mesmerising, playing to Eileen’s desires with an ease in her sensuality, making it seem natural to her. It’s not hard to imagine that confidence comes naturally to Anne Hathaway, but this one in particular feels like a birth right to play a character like this.
The dynamic between both of them is tension filled, with intrigue and obsession from Eileen, and a sense of ease and dismissiveness from Rebecca. Rebecca isn’t dismissive of Eileen, but her casual approach to the relationship, gives her a huge power advantage over Eileen.

The score is composed by Richard Reed Perry, who joins Jonny Greenwood (from 2021’s Spencer) in a new subgenre of Jazz, tension jazz. They both take the smooth out of jazz to put you on edge the entire time. Oh we’re driving a car down a normal road? Add the music and suddenly you’re checking every corner of the screen, searching for the impending doom to come. Both composer’s come from a background of commercial music, with Greenwood from Radiohead, and Reed Perry from Arcade Fire. I appreciate seeing musicians like this step into a composer role, bringing their experience to the film and also a creative flair that is often times unconventional.
Well, to conclude, the film is one that I would strongly dub as a vibe. One to settle into while you’re in the mood to be seduced by Anne Hathaway and to feel for Thomasin McKenzie’s living situation. It’s a small movie, that I feel like will just slide under the radar and not be seen by many people. Hopefully it will slide onto a streamer at some point and grow in popularity.
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