Eileen leads a dreary existence. Employed in a juvenile correctional center, she is ostracized by her colleagues. In the evening, she returns home where her father, an alcoholic and verbally abusive man, “destroys”. But one day a new psychologist arrives at work: Rebecca. Captivated by this brilliant and very glamour, Eileen is amazed to find that the interest is mutual. However, what appears to be a friendship and perhaps more so affinities turns into a tortuous story of madness for two. In the movie EileenThomasin McKenzie and Anne Hathaway deliver fascinating performances.
Set in Boston in the early 1960s, this Sundance hit is based on the award-winning debut novel by Ottessa Moshfegh — the author co-wrote with her partner, Luke Goebel. This is William Oldroyd’s second achievement after the much-noted, rightly so, Lady Macbethwho imposed Florence Pugh (Midsommar, Oppenheimer) as a star in the making.
In the image, Oldroyd makes some references to Hitchcock, including transforming the brunette Anne Hathaway into a blonde. Note that this character was already named Rebecca in the novel, in honor of the eponymous film by the master of suspense (based on the novel by Daphne du Maurier). However, Hitchcock’s influence is minimal.
As it stands, the film is akin to a cross between Carolby Todd Haynes (based on the novel by Patricia Highsmith), and Pearl, by Ti West. The dynamic between the two women, as well as their respective appearances, recalls the first feature film, while the psychological, or rather pathological, curve of Eileen has a lot in common with that of the protagonist of the second (without the daring until die-hards, alas).
To understand the respective journeys of the characters, we only have to observe Oldroyd’s chromatic choices. Colorless at the beginning – literally, dressed all in beige – Eileen will move on to pink, then carmine, as she gains confidence. In this complex role, Thomasin McKenzie, discovered in Leave No Trace (Without a trace), by Debra Granik, often resembles a young Jodie Foster, talent included.
First associated with red, Rebecca will gradually lose her colors, as if vampirized by Eileen. As Rebecca, Anne Hathaway is fabulous: this is her best score in a long time.
The flame blonde
If William Oldroyd creates moments of clear stylization here and there, his way of filming place and time nonetheless attests to a concern for raw realism. In charge of photography, Ari Wegner, collaborator of the director on Lady Macbethbut also by Jane Campion on The Power of the Dog (The power of the dog), manages to make this formal duality cohesive – a duality echoing Eileen’s inner fracture.
Throughout, the music of Richard Reed Parry, of the group Arcade Fire, enhances the ambient anxiety-inducing charge.
To return to the production: Eileen’s initial isolation is obvious, from evocative overall shots in tighter compositions on her distant gaze, as if waiting… Oldroyd shows the routine of this isolated being in a series of small variations from which There is a growing feeling of alienation. We regret that said an abuse of shock effects revealing, each time, to have occurred only in Eileen’s head: the process quickly becomes boring.
In any case, as in his previous film, Oldroyd proves adept at painting, from the outset, a detailed portrait of his heroine while sowing subtle clues of a latent revolt: so many repressed desires having no only need a spark plug to explode.
And this is where the flamboyant Rebecca enters the scene, whose carefree air hides something dark. Far from being frightened by this dark side that she recognizes as having one as well, Eileen is like the moth irresistibly attracted to the flame. The blonde flame…