Joey Magidson
It will never not be fascinating to me to consider the material actors/actresses choose when they step behind the camera. Often, it’s a film they’re able to star in, so it’s rare for them not to even appear in a supporting role. So, for Scarlett Johansson to chose her directorial debut to be Eleanor the Great, which requires a 90 plus year old actress in the lead, is notable. Moreover, the fact that she’s made an incredible movie is notable as well, for obvious reasons. Currently screening at the Toronto International Film Festival, it’s one of the best and most moving flicks that I’ve seen in 2025.
Eleanor the Great is both funnier than you’re expecting as well as more heartbreaking. When there’s comedy being staged, you’ll laugh. When it goes for your emotions, you’ll almost certainly cry. This is very much a full cinematic meal, one that will really sneak up on you. I went in cautiously optimistic and wound up being bowled over.
Eleanor Morgenstein (June Squibb) is a 94 year old Florida resident, living with her best friend Bessie (Rita Zohar). Their husbands have passed away, so it’s just them, thick as thieves, sticking to their various routines. When Bessie passes away, Eleanor moves back to New York to live with her daughter Lisa (Jessica Hecht) and grandson Max (Will Price). Not knowing what to do with her, Lisa signs Eleanor up for a music class at the local Manhattan Jewish Community Center. She arrives but has no interest in the class, intending to simply leave. However, a chance encounter with another woman leads her to follow that lady into a different meeting. It turns out to be a support group for Holocaust survivors, one that welcomes her in, thinking she’s one of them. Thrilled to be the center of attention, she shares her own story. The thing is, it isn’t Eleanor’s story to tell, but Bessie’s.
Also in attendance is college journalism student Nina (Erin Kellyman), who is struck by the story and wants to feature Eleanor. The older woman has no interest, initially, though she likes this attention as well and a friendship starts to bloom. While Eleanor relishes the bond, Nina is struggling with the loss of her mother and the fact that her father Roger (Chiwetel Ejiofor) won’t talk about it. Of course, eventually the truth will come out, but what will happen after that? That’s where this film sets itself apart.
June Squibb turns in her best performance as Eleanor. The genius of the work, as well as the character, is that she’s often a mean old lady, one that reads people to filth. The funniest scenes are when she cuts someone down. However, the way she interacts with Bessie is beautiful, showing some wonderful chemistry with Rita Zohar, who is excellent in her handful of scenes. The same goes for Erin Kellyman, who is a terrific scene partner for Squibb. Kellyman and Chiwetel Ejiofor have a hugely emotional subplot that they ace, especially in how both play sadness. In addition to a solid Jessica Hecht and Will Pice, supporting players include Greg Kaston, Stephen Singer, and more.
Scarlett Johansson makes her directorial debut here, working from a screenplay by Tory Kamen. The script is backed with amusing little bits that New Yorkers, especially Jewish New Yorkers, will appreciate, but it’s also just very sturdily build. That’s notable because the plot device here is one I rarely think works. The fact that Johansson and Kamen actually reckon with the actions of their lead is fairly unusual. As a director, Johansson stages everything simply yet elegantly, showcasing a skill that suggests her best is yet to come, though already pretty fully formed as a filmmaker.
Eleanor the Great blew me away. Whether at TIFF or in theaters soon, it’s a film with a generosity of character and ability to balance comedy and drama that so few works can pull off. That this movie does it so well is a part of why it’s so exciting to think about what Johansson might do next. She’s got the goods behind the camera, as this is one of the best films of the year.
SCORE: ★★★1/2
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