Making its North American premiere at the 2025 Toronto International Film Festival, Eleanor the Great sees an elderly woman’s need for companionship and validation spiral out of control when her lies reach too many audiences.
But the film also examines the power of storytelling in preserving personal and political histories. As long as those stories are truthful.
What is Eleanor the Great about?
94-year-old Eleanor (June Squibb) has spent 11 years living with her best friend, Bessie (Rita Zohar). When Bessie suddenly dies, Eleanor has to move back with her daughter, Lisa (Jessica Hecht), who lives in a small apartment in Manhattan with her son.
Eleanor is at a loss about what to do with this change of circumstances. On Lisa’s insistence, she tries attending a music class but gives up before going in. She ends up joining the Holocaust survivors’ group instead where she shares her story of escaping from Auschwitz with her brother.
It’s a touching story, made all the more impactful by Eleanor’s reluctance to share it. There is a reason for this, and it isn’t trauma, or sorrow. Eleanor was never at Auschwitz. She wasn’t even in Europe during World War II. Eleanor is sharing a story that was never hers to tell.
Why does Eleanor the Great’s protagonist lie?
When I read the synopsis for Eleanor the Great, I expected to watch a film about a charlatan with the intention of hurting others for her own fame and glory. We’ve heard about such people before—almost every major disaster has someone lying about having been there and survived.
But that is not what Eleanor the Great is about. Instead, Eleanor means well when she begins her lies. The problem with lying is that you can’t control where it goes. When Eleanor shares her tale with the survivors’ group, she captures the attention of journalism student, Nina (Erin Kellyman). Recently grieving herself, Nina is moved by Eleanor’s sorrow at having survived when her brother didn’t.
Nina befriends Eleanor, who is more than glad for the company. Lisa is busy with work, and Eleanor’s grandson would rather hang out with his friends. At least Nina wants to listen to and talk to Eleanor. Especially since Nina’s father, Roger (Chiwetel Ejiofor), doesn’t want to talk about Nina’s mother at all. So what if Eleanor lies a little more to keep her young friend entertained?
The heart of Eleanor the Great
Beyond the lies and humour of Eleanor the Great, there is a much more profound story—how do people allow themselves to grieve? Because that is the heart of this film. Grief powers every decision and every interaction in this film.
Eleanor can’t cope with Bessie’s loss. Nina and Roger can’t even talk about their grief. And because nobody knows what to do with their grief, they just act.
But the problem with grief is that it takes away rationality. It can make people selfish. It’s hard to imagine that the world is just going on around you when your world has been destroyed. And nobody seems to understand it unless they’ve been through it themselves.
The grieving people in this film live for the small moments that give them some relief—and for Eleanor, those moments come from lying about surviving the Holocaust, because that gives her community, validation, and affection.
We are living in a time of profound grief. People are being torn apart from their families as multiple genocides are perpetrated around the world—in Palestine, Sudan, and the Democratic Republic of Congo. The pandemic has claimed so many people, yet the world appears to have forgotten it ever happened. Having seen Hamlet and now Eleanor the Great at TIFF, I can only say that we need more films about the overwhelming effects of grief and how poorly humanity is equipped to handle it.
I found the film’s exploration of grief to be the most compelling aspect of the story. I wasn’t expecting it but that’s what elevates the story beyond other tales of con artists. It’s also extremely moving, if the loud sniffles from the audience were anything to go by.
How are the performances in Eleanor the Great?
I’m calling it right now—June Squibb is going to get an Oscar nomination for best actor for Eleanor the Great. She’s delightful and also a bit horrid. Squibb plays Eleanor not just as a crotchety older lady, but as someone who enjoys being mean. She has some lovely moments, and her relationship with Nina warmed my heart, but there were times when I didn’t like Eleanor. It’s interesting that Squibb was comfortable playing those harsher parts of Eleanor’s character. And that’s why I think she’ll get nominated.
I loved Erin Kellyman in this film. Her Nina is so sweet. You can see how much she misses her mother, not just when she’s crying—which she has to do a lot of—but when she’s holding back her tears. Her effortless chemistry with Squibb makes this film flow. I hope people can recognize what a realistic but memorable performance Kellyman has put in.
I’ve been a fan of Chiwetel Ejiofor for a long time and he’s always stellar. This is a much smaller role for him than I expected and it’s very subtle. Ejiofor’s Roger is doing everything in his power not to feel. That restraint could come across as poor acting in the hands of someone less-skilled. With Ejiofor, it’s absolutely stunning how much pain Roger is trying to hide.
But the role that really got me in my feels was Rita Zohar. Bessie is the catalyst for the events in this film and every time we go back to her in flashbacks, Zohar brings a depth of feeling to Bessie that propels the film forward. Her friendly chemistry with Squibb makes their relationship so believable that you can practically understand why Eleanor does what she does.
How is Scarlet Johannson’s directorial debut?
Scarlet Johansson has been in Hollywood so long, she can safely be considered a stalwart. Having captivated imaginations in dramas and action films, she makes her directorial feature debut with Eleanor the Great. Her decades of experience shine through in every frame. This film is a triumph of filmmaking.
Not a single scene is out of place. The pacing is excellent. Johansson knows exactly how long to keep the camera on the actors, and when to cut away. The film moves quickly, packs in a bunch of characters with believable backstories, and balances the drama and comedy without overpowering either.
Of course, no film is perfect and while Eleanor the Great is highly entertaining and very emotional, I found the piano interludes much too saccharine. I don’t know why so many films studying the holocaust default to the piano, but it’s really not needed.
Since this isn’t a true story, some of the more dramatic and sentimental scenes felt over-the-top. My suspension of disbelief wasn’t willing to be suspended that far. Did I laugh or bawl at these? Absolutely. But they still took me out of the film.
Despite those issues, Johansson has delivered an excellent film that will touch the heartstrings of many people watching. The performances are stellar across the board, and the depth of emotion this film will evoke, will have you calling all your loved ones.
Eleanor the Great had its North American premiere at TIFF 2025, and was released in theaters on Friday, Sept. 26.