Oscar-winning director Ron Howard has made vastly different films throughout his accomplished career. His films range from the nationally preserved Apollo 13 (1995) to the blockbuster remake of everyone’s favourite holiday classic, How the Grinch Stole Christmas (2000). Still, with 28 feature films as a director, Eden turns out to be his most unexpected movie, which is why it’s somewhat of a shame that it’s also one of his blandest.
The most fascinating aspect of Eden, which features a stacked cast, is that it’s based on the true story of Dr. Freidrich (Jude Law) and Dora Strauch Ritter (Vanessa Kirby). The Ritters were the first settlers to arrive and establish themselves on Floreana Island, located in the Galapagos, after fleeing their home in Germany in 1929. The two spend their days in nature and each other’s company. Freidrich peacefully works on a novel while Dora strives to cure her multiple sclerosis until two more settlers, along with an amoral baroness, show up. As cohabiting on the island becomes increasingly difficult, relationships are tested while tensions escalate, which results in foul play.
These new arrivals are played by Sydney Sweeney (Anyone But You, Immaculate) and Daniel Brühl (Captain America: Civil War) as Margaret and Heinz Wittmer, while Ana de Armas (Knives Out, No Time To Die) plays Eloise Bosquet de Wagner Wehrhorn. If there’s one reason to see Eden, it’s for the cast, especially Sweeney and de Armas, who both give career-best performances that may surprise even their toughest critics.
Aside from her reserved turn in Knives Out, de Armas often goes over-the-top in her roles. While her approach is no different in Eden, it completely works as it elevates Howard’s otherwise incredibly drab film. Sweeney, who has recently shot to stardom, also proves herself with a performance opposite to de Armas’s, as her character is easily the film’s beating heart.
However, these two performances also highlight one of Eden’s most significant problems: its tonal inconsistencies. At times, the film can be incredibly tense and rich in social commentary regarding how people often treat their neighbours with hostility. However, when de Armas enters the picture with her two hunky lovers, the film spirals into silly and incoherent madness. Having said that, Eden wouldn’t work without her deliciously entertaining role. Howard should have leaned into what de Armas was bringing to his movie and allowed his other actors to have that same fun instead of letting her come across as the odd one out.
Furthermore, with such a sprawling cast of characters, it’s impossible to become attached to any of them, making the film’s lengthy running time feel like a slog. Yes, it’s easy to identify with Margaret and Heinz, who struggle to connect with the Ritters and establish themselves on the island. It’s even easier to feel sorry for them when the baroness steals their food or to be sympathetic for Dora as she dealswith debilitating MS. However, the script keeps most characters guarded and rarely provides insight into their lives before arriving on Floreana Island. This missed opportunity becomes even more frustrating when the film reveals these are real people during the end credits, as most viewers will have no idea until then.
Complaints aside, Howard does a serviceable job bringing the story of the Floreana Island settlers to life. But one has to wonder if Eden would have been the perfect opportunity for Howard to return to his more whimsical and audacious roots instead of the paint-by-numbers approach he brings to his current projects. If anything, Eden will hopefully encourage those of us who’ve never heard of the Galapagos Affair to look into this deeply layered history, which is far more interesting than the movie presents their story to be.
