Jude Law and Ana de Armas lead a cast of self-absorbed misanthropes that viewers may want to escape from.
Ron Howard has always prided himself on being a versatile filmmaker. Over the past four decades, he has tackled a wide range of subjects, from mermaids to astronauts, and from the Beatles to Pavarotti. However, at the premiere of his latest film, Eden, at the Toronto Film Festival, he claimed this project is unlike anything he has done before. He’s correct, but not for the reasons he believes.
Eden, inspired by events from a century ago on one of the Galápagos Islands, is a challenging film to define. While it’s been labeled a “thriller,” it feels more like a dark survival tale that blends elements of Robinson Crusoe with the interpersonal tensions of Who’s Afraid of Virginia Woolf?, all with bizarre nods to Nietzsche. For Howard, this film certainly marks a departure—featuring sex, murder, and animal slaughter. Yet, it might be more accurate to describe it as disappointing. While Howard has ventured outside his comfort zone, he seems to have become so immersed in the material that he forgot to create a compelling narrative.
From the start, we’re left wondering why the historically based characters feel so exaggerated and artificial. Jude Law, who recently delivered a powerful performance as an FBI agent, plays Friedrich Ritter, a German doctor who seeks refuge on the isolated Floreana Island in 1929. Though World War I has ended, the world is facing economic turmoil. Ritter believes that the old order is collapsing and envisions a new utopia that he intends to build.
Fueled by a messianic zeal, Ritter spends his days typing away at a manifesto, drawing inspiration from Nietzsche. However, his aspirations seem more rooted in cynicism than genuine hope for humanity, revealing the true reason for his retreat from Germany. Accompanied by his wife, Dora (Vanessa Kirby), they resemble a debauched Adam and Eve, often bickering more than celebrating their unconventional lifestyle. Their mission feels doomed from the start, as Ritter lacks the insight of a true visionary.
The stakes of their endeavor remain unclear, a point that Howard and screenwriter Noah Pink fail to clarify. Another couple, Heinz Wittmer (Daniel Brühl) and his wife, Margaret (Sydney Sweeney), arrive on the island seeking to join Ritter’s movement. They bring their ailing son, hoping the island’s air will heal him, yet Ritter dismisses them instead of welcoming them into his commune.
Howard has mentioned that Eden is based on conflicting accounts of the events it portrays, which contributes to its lack of focus. The audience feels distanced from the characters, observing them as if they were part of an insect colony, with plenty of wildlife to watch as well.
A new character enters the fray: Ana de Armas as Eloise Bosquet de Wagner Wehrhorn, or the baroness, who arrives with a group of men, claiming she wants to build a luxury hotel on the island. De Armas infuses her character with a blend of charm and moral ambiguity, providing a brief spark to an otherwise sluggish narrative.
Eden drags on without much direction or energy, filled with random theatrics. Sydney Sweeney stands out as Margaret, a relatable character who evokes sympathy, especially during a challenging childbirth scene.
Yet, as the relationships deteriorate and the film veers into a chaotic version of *Lord of the Flies*, the audience struggles to engage. Howard seems to expect viewers to automatically invest in these characters, but it’s hard to imagine many wanting to stick around for Eden, a film that makes you yearn to leave the island for a more rational world.