‘Eden’ Review: Ron Howard Delivers His Most Exciting Project in Years with Too Wild To Be True Sexy Social Thriller | TIFF

While watching Eden, it’s hard to imagine what you’re seeing on screen actually happened. But perhaps that’s the entire point of the film: the crazier humanity gets, the further it stays away from fiction. For all what an imagined narrative can give us, a factual story can paint a much darker picture on how humanity can sink so low to a point where you start questioning whether it can get any worse.

In what is surely one of his most exciting projects in many years, Howard manages to create a dark yet entertaining film that is both provocative and utterly engrossing – it’s no easy feat especially that the film has several comedic moments that blend in quite well with the otherwise serious narrative. It is an accomplishment on a narrative as well as a casting level, as Howard assembles one of the best ensembles of the year who all deliver strong performances that help bring the right dose of authenticity and charisma to their characters. You won’t be able to take your eyes off the screen as you watch their sometimes violent and often passive aggressive exchanges – and you’ll find yourself secretly asking for more; even though you have to remind yourself that this is based on a true story which places certain constraints on the filmmakers. 

In what was definitely a conscious casting choice, Howard assembles some of the sexiest actors to bring to life characters whose appearances couldn’t be more deceiving. It’s a creative choice that pays off, as we gradually uncover the greed, deception and exploitation that lie behind these beautiful faces and gorgeous bodies. And what seems like a paradise soon turns into a hellish nightmare, simply because humanity is doing its thing. 

The year is 1929 and the aftermath of WWI is devastating. Dr. Fredrich Ritter (Jude Law) and his partner Dora Strauch (Vanessa Kirby) decide to flee their homeland, and travel to an uninhabited island in the Galápagos archipelago. The idea of leaving all mankind behind is alluring to the couple, but Dr. Ritter plans to use his isolation as an opportunity to develop a new philosophy that can have the potential of saving mankind. As the couple settle in the island, Dr. Ritter starts sending out letters to several newspaper editors, thanks to passing ships that carry his letters, and his articles soon are published to great success. He becomes an icon and an enigma and with his fan base growing, the island starts to get its share of fame as well.

A few months later, a German couple, Heinz Wittmer (Daniel Brühl) and Margaret (Sydney Sweeney) arrive at the island, hoping to settle there following Dr. Ritter’s footsteps. Their son, suffering from tuberculosis, and their dire financial situation along with the political turmoil back home have all made it impossible for them to continue living in the city. Believing in Ritter’s ideals and seeking a less materialistic lifestyle, they do their best to establish a new home on the island. Their arrival is not welcomed by the Ritters who see their presence as some sort of threat – they’ll have to share the same resources and their once exclusive paradise will cease to be. Ritter, rather cunningly, advises them to settle near the rocky caves where he knows they won’t be able to grow their crops due to water shortage, but the determined couple unexpectedly succeed in carving a new life and taming nature in ways that Ritter has not seen coming.

Things take a darker, more sinister turn with the arrival of Baroness Eloise Bosquet de Wagner Wehrhorn (Ana de Armas) who announces she owns acres of the island and is getting ready to build her own ‘hotel paradiso’ on the land, paving way to transforming the once-obscure island to a major touristic destination. With the island now crowded, humanity shows its ugly face as greed, jealousy, conspiracies, theft, treason and lies all resurface, turning the lives of the few residents to a ruthless competition for resources, and more importantly, power and domination.

Howard lets his cast devour their roles, and while the male leads embody their characters with maximum authenticity, the female leads absolutely steal the show. Never has Sydney Sweeney been this grounded, as she lets go of her usual glam and completely captures Margaret’s resilience and strength. As Dora Strauch, Vanessa Kirby is an absolute force as she perfectly embodies her characters’ heartlessness and steely resolve while Ana de Armas is clearly having a lot of fun playing an over-the-top, snakelike character that is a great showcase of an actress that has a lot of range. 

Despite reflecting on darker themes, Eden manages to remain engrossing and entertaining for its entire runtime. And while the final act needed a bit of polishing, and the film sometimes struggles with its multiple tones, it remains among Howard’s best efforts in recent memory. Commercial prospects are very likely and while awards attention is far less assured, this remains an interesting, provocative work that will find its audience. 

Grade: B

This review is from the 2024 Toronto International Film Festival where Eden had its world premiere. There is no U.S. distribution at this time