Anna Daniels
A FILM THAT CAPTIVATED THE CANNES AUDIENCE WITH ITS HEART
Scarlett Johansson has achieved something that would have seemed utterly outrageous a decade ago—she directed a heartfelt dramedy featuring a 94-year-old woman and a tale intertwined with the Holocaust, and the audience at Cannes adored it as if it were the finest delicacy. Her directorial debut, Eleanor the Great, launched in the Un Certain Regard section, receiving a thunderous five-minute ovation.
Indeed, the actress famed for her role as a stealthy assassin in tight leather has crafted a narrative about loss, healing, and a story not originally hers to share. Surprisingly, it works.
WHAT MAKES THIS FILM BOTH CHALLENGING AND EFFECTIVE
Let’s analyze:
- June Squibb, making waves with her first leading role at a sprightly 94, embodies Eleanor, who inadvertently takes over her late friend’s story of Holocaust survival.
- An ambitious journalism student and a meddlesome news anchor add layers of complexity, creating ethical dilemmas that rival a complicated family group chat.
- As for critics? They’re already polarized. Rotten Tomatoes sits at 64%, with some hailing it as a “gentle masterpiece” while others deem it “a Hallmark film with Holocaust guilt.”
However, here’s the intriguing part: Despite its seemingly odd premise combining elements of The Farewell and The Producers, Johansson strikes a rare balance. The outcome? A narrative that is touching, perhaps even essential.
THE UNSUNG STORY IN THE BACKGROUND
This narrative transcends Eleanor alone. It also highlights June Squibb, a remarkable talent overlooked by Hollywood for years, who now commands attention with the depth of Helen Mirren and the comedic flair of Betty White after a few drinks.
Johansson, soaking up the accolades in Cannes, described her as “truly inspiring.” And she’s absolutely right. Squibb doesn’t just play Eleanor; she embodies the entire experience.
Let’s not overlook the broader pattern here:
- In 2014, Michael Keaton made a triumphant return in Birdman.
- In 2020, Youn Yuh-jung from Minari also captivated audiences with her remarkable performance.
Now it’s Squibb, finally gracing a red carpet that should have been hers long ago.
Even more astonishing? This year is not just about her directorial venture. Johansson is also featured in Wes Anderson’s The Phoenician Scheme and leads Jurassic World Rebirth. That’s three vastly different roles—director, ensemble player, and blockbuster icon—all packed into one summer.
It’s a mix that screams: Scorsese meets Barbie meets Spielberg’s delightful chaos.
SOCIAL COMMENTARY OR AN ETHICAL DILEMMA?
Eleanor the Great may not be without its flaws. Yet it stands out as a rare debut that boldly explores softness, complexity, and even moral discomfort. That five-minute applause? It’s not solely for Johansson—but for a film unafraid to pose the question: Who has the right to a story?
Will you applaud… or feel uneasy? Your perspective might hinge on how you view well-meaning fabrications, the clash of generations in grief, and a camera that lingers just a moment too long on a pained expression.
Now, the pivotal question is:
Does this qualify as Cannes-worthy art? Or merely a beautifully rendered apology?
https://www.youtube.com/watch?v=ozsNcDD2bAk[/embed>
