June Squibb
Eleanor Morgenstein
Overview
94-year-old Eleanor Morgenstein tries to rebuild her life after the death of her best friend. As a result, she moves back to New York City after living in Florida for decades.
Cast
12 people
Reviews
5 min read AI-generated editorial review
The Lie That Loved Too Much
I’ve seen this trick before—the elderly woman who spins a tall tale to fill the silence left by grief. It’s a familiar trope, the kind that usually unfolds in a sunlit kitchen or a cluttered living room, where the past is both weapon and balm. But Eleanor the Great, Scarlett Johansson’s directorial debut, doesn’t just lean into the cliché; it presses down on it until the weight of the lie becomes something else entirely. What begins as a sentimental dramedy about a 94-year-old widow pretending to be a Holocaust survivor slowly curdles into a meditation on how we use stories to survive—and how those stories, when exposed, can either destroy us or set us free.
Johansson, who has spent decades being watched, now turns the camera on a woman who can’t stop being seen. Eleanor Morgenstein (June Squibb) is a widow adrift after the death of her best friend, Bessie, a Holocaust survivor whose stories Eleanor has absorbed like oxygen. When she stumbles into a support group for survivors at a Jewish community center, she doesn’t correct the assumption that she, too, lived through the camps. Instead, she leans in. The lie isn’t just a lie; it’s a lifeline, a way to keep Bessie’s memory alive and, perhaps, to keep herself from disappearing entirely.
The film’s greatest strength is its refusal to let Eleanor off the hook. This isn’t The Bucket List or Driving Miss Daisy, where the elderly protagonist’s quirks are indulged with a wink. Eleanor’s imposture is morally fraught, and the script—written by first-time feature screenwriter Tory Kamen—doesn’t shy away from that. When Nina Davis (Erin Kellyman), a young journalism student grieving her mother, begins profiling Eleanor for a local paper, the lie takes on a life of its own. Nina isn’t just a sounding board; she’s a mirror, reflecting back the parts of Eleanor that are real and the parts that are borrowed. Their bond is the film’s emotional core, a quiet, aching thing that feels earned in a way the rest of the script sometimes doesn’t.
But here’s the problem: Eleanor the Great wants to have it both ways. It wants to be a Holocaust weeper and a sentimental dramedy, a film that grapples with the ethics of appropriation and a crowd-pleaser that lets its protagonist off with a slap on the wrist. The Guardian’s criticism—that the film is “misjudged and naive about the implications of its Holocaust theme”—stings because it’s right. When Eleanor’s lie is exposed, the film softens the blow, as if it, too, is afraid of what happens when the truth comes out. The reckoning is there, but it’s muted, as though Johansson and Kamen are more interested in the emotional fallout than the moral one.
I’ve seen this trick before—the elderly woman who spins a tall tale to fill the silence left by grief. It’s a familiar trope, the kind that usually unfolds in a sunlit kitchen or a cluttered living room, where the past is both weapon and balm. But Eleanor the Great, Scarlett Johansson’s directorial debut, doesn’t just lean into the cliché; it presses down on it until the weight of the lie becomes something else entirely. What begins as a sentimental dramedy about a 94-year-old widow pretending to be a Holocaust survivor slowly curdles into a meditation on how we use stories to survive—and how those stories, when exposed, can either destroy us or set us free.
Johansson, who has spent decades being watched, now turns the camera on a woman who can’t stop being seen. Eleanor Morgenstein (June Squibb) is a widow adrift after the death of her best friend, Bessie, a Holocaust survivor whose stories Eleanor has absorbed like oxygen. When she stumbles into a support group for survivors at a Jewish community center, she doesn’t correct the assumption that she, too, lived through the camps. Instead, she leans in. The lie isn’t just a lie; it’s a lifeline, a way to keep Bessie’s memory alive and, perhaps, to keep herself from disappearing entirely.
The film’s greatest strength is its refusal to let Eleanor off the hook. This isn’t The Bucket List or Driving Miss Daisy, where the elderly protagonist’s quirks are indulged with a wink. Eleanor’s imposture is morally fraught, and the script—written by first-time feature screenwriter Tory Kamen—doesn’t shy away from that. When Nina Davis (Erin Kellyman), a young journalism student grieving her mother, begins profiling Eleanor for a local paper, the lie takes on a life of its own. Nina isn’t just a sounding board; she’s a mirror, reflecting back the parts of Eleanor that are real and the parts that are borrowed. Their bond is the film’s emotional core, a quiet, aching thing that feels earned in a way the rest of the script sometimes doesn’t.
But here’s the problem: Eleanor the Great wants to have it both ways. It wants to be a Holocaust weeper and a sentimental dramedy, a film that grapples with the ethics of appropriation and a crowd-pleaser that lets its protagonist off with a slap on the wrist. The Guardian’s criticism—that the film is “misjudged and naive about the implications of its Holocaust theme”—stings because it’s right. When Eleanor’s lie is exposed, the film softens the blow, as if it, too, is afraid of what happens when the truth comes out. The reckoning is there, but it’s muted, as though Johansson and Kamen are more interested in the emotional fallout than the moral one.
Audience Opinions
AI summary of viewer review patterns
Audience 6.5/10 AI
"A heartfelt but uneven drama with standout performances that struggle to elevate a familiar narrative."
June Squibb’s portrayal of Eleanor garners widespread praise, with many finding her performance deeply moving and authentic. The film’s emotional core resonates, particularly in its quieter moments, but the story’s predictability and underdeveloped side characters leave some wanting more depth. The direction is noted for its visual warmth, though it doesn’t fully mask the script’s limitations.
What viewers praise
- June Squibb’s performance Her portrayal of Eleanor is widely praised as the film’s strongest element, delivering emotional weight and authenticity.
- Emotional resonance The film’s heartfelt moments connect with audiences, particularly in its exploration of aging and legacy.
- Visually warm direction Scarlett Johansson’s direction is noted for its aesthetic appeal, creating a cozy and inviting atmosphere.
Common complaints
- Predictable storyline The plot follows well-worn dramatic tropes, leaving little room for surprise or innovation.
- Underdeveloped side characters Supporting roles, including those played by Erin Kellyman and Chiwetel Ejiofor, feel thin and lack depth.
- Uneven pacing Some viewers find the film’s rhythm inconsistent, with moments of drag between stronger scenes.
Recommended for
Fans of character-driven dramas June Squibb admirers Slow-burn emotional stories Indie drama enthusiasts
Full Plot (Spoilers)
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Buzz & Rumors
Public reports AI-researched entertainment notes
Scarlett Johansson’s Directorial Debut: The Making of Eleanor the Great
Scarlett Johansson steps behind the camera for the first time with Eleanor the Great, a 2025 drama starring a powerhouse ensemble led by June Squibb and Erin Kellyman. While details about the film’s plot remain scarce, early glimpses into its production reveal a project steeped in collaboration, humor, and Johansson’s bold creative vision.
A Star-Studded Ensemble with Unexpected Chemistry
https://www.youtube.com/watch?v=-EHbwL4xn-o
Johansson’s directorial debut brings together an eclectic cast, including Oscar nominee Chiwetel Ejiofor, Andor’s Erin Kellyman, and veteran actress June Squibb, whose performance in Nebraska earned her an Academy Award nomination. The chemistry between the leads was on full display in a recent promotional appearance, where Squibb, Kellyman, Ejiofor, and Johansson played a round of "2 Truths and 1 Lie"—a lighthearted moment that hinted at the film’s blend of warmth and wit [3].
https://www.youtube.com/watch?v=O3WOe7UJvpM
Squibb, in particular, has been vocal about her excitement for the project. In an interview, she teased Eleanor the Great as a film that balances humor with deeper themes, though she stopped short of revealing specifics [2]. The cast also includes Jessica Hecht (The Marvelous Mrs. Maisel), Rita Zohar, and rising talents like Will Price and Lia Lando, suggesting a narrative that spans generations.
Johansson’s Directorial Approach: A Shift from On-Screen Roles
Johansson’s transition to directing marks a significant pivot from her iconic acting career, which includes blockbusters like The Avengers and critically acclaimed performances in Marriage Story and Lost in Translation. While her previous work behind the camera is limited, her involvement in Eleanor the Great suggests a hands-on approach—one that prioritizes character-driven storytelling over spectacle.
The film’s tone appears to contrast sharply with Johansson’s recent roles in big-budget projects like Fly Me to the Moon (2024) 
, hinting at a more intimate, dramatic focus. Whether Eleanor the Great will lean into the surrealism of Under the Skin (2013) or the emotional depth of her Oscar-nominated performances remains to be seen, but early buzz suggests a departure from her Marvel-era persona.
What We Know (and Don’t Know) About the Plot
Despite the cast’s promotional appearances, Eleanor the Great’s plot remains tightly under wraps. The title itself—shared with a historical figure, Eleanor of Aquitaine—has fueled speculation about a period drama, though no official confirmation exists. The inclusion of Ejiofor and Kellyman, known for their dramatic range, suggests a narrative with weighty themes, while Squibb’s involvement hints at a touch of levity.
Rumors (unconfirmed) suggest the film canters around a matriarchal figure—possibly named Eleanor—whose influence shapes the lives of those around her. However, without a script leak or official synopsis, these remain speculative.
Release and Expectations
Eleanor the Great is slated for a 2025 release, though no exact date has been announced. Given Johansson’s clout and the film’s star-studded cast, it’s poised to generate significant buzz, particularly among fans of character-driven dramas. Early Rotten Tomatoes listings confirm the principal cast but offer no additional details .
For now, the film’s biggest mystery isn’t its plot—it’s whether Johansson’s directorial debut will carve out a new lane for her career or serve as a one-off passion project. Either way, with a cast this talented, Eleanor the Great is already one to watch.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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