‘Eden’ Review – Ron Howard’s Survival Tale Struggles To Find Its Depth [TIFF 2024]

From In the Heart of the Sea to Thirteen Lives, Oscar-winning director Ron Howard seems drawn to true stories about people facing overwhelming odds. And he uses these real-life tales to explore what it means to survive—physically, socially, and psychologically. In his latest film, Eden, he turns his lens to a new survival story—one where the challenge isn’t just the harsh environment, but the uncomfortable truths about human nature itself.

Eden, which had its world premiere at the Toronto International Film Festival, follows Dr. Friedrich Ritter (Jude Law) and his partner Dore Strauch (Vanessa Kirby) as they flee the instability and extremism gripping post-war Germany. Their destination? The remote Galápagos Islands, a place as far removed from civilization as their disillusionment with it. Like something out of a Werner Herzog fever dream, Ritter’s grand plan is twofold: to pen the ultimate “How to Save Mankind” manifesto (because nothing says “fixing humanity” like completely isolating yourself from it) and to live a life stripped to its barest essentials. Dore, who is battling multiple sclerosis, is convinced that their island existence, along with meditation, might succeed where modern medicine has failed. Together, they set out to create their own Eden, a paradise born of privation and high-minded ideals.

Their little utopia is interrupted by the unexpected arrival of the Wittmer family: Heinz (Daniel Brüh), a World War I vet, his younger wife Margaret (Sydney Sweeney), and their son Harry (Jonathan Tittel). Inspired by Ritter’s writings, they hope the island will help cure their son’s tuberculosis. Ritter and Strauch eye the newcomers (looking like they raided Kevin Hart’s Jumanji wardrobe) with disdain, confident they won’t survive the inhospitable terrain. But the Wittmers manage to carve out an improbable existence despite Ritter’s attempts to break their resolve. Their hard-won peace proves to be short-lived, however, as another newcomer arrives—Baroness Eloise Bosquet de Wagner Wehrhorn (Ana de Armas), who, trailed by her devoted entourage, is hell-bent on building an exclusive resort on the island. While this setup practically begs for commentary on colonialism and class warfare, the film seems oddly reluctant to dive deeper into these waters.

The Baroness changes everything—she manipulates and poisons relationships among the islanders, causing tensions to boil over and alliances to shift. Trapped in this pressure cooker of isolation and clashing egos, behavior begins inching towards Lord of the Flies’ territory, unleashing a twisted circus of schemes, rivalries, and brutality.

Working with Noah Pink’s screenplay, Howard devotes considerable time to world-building and the island’s shifting community dynamics—sometimes to the point where it drags. Don’t misunderstand, there are some genuinely gripping moments, particularly in the second half, but for all its potential, Eden never really finds a solid groove. 

The tone ping-pongs between satire and thriller, but never fully commits to either. The parts that flirt with satire remind one a bit of Triangle of Sadness and its descent into madness. The film works best when it leans into darker territory. While the parallels between this isolated community and the rise of fascism in Europe are present, they often take a backseat to the more immediate interpersonal dramas. Perhaps that’s fitting. After all, history’s greatest tragedies often begin with simple human failings: pride, fear, the desire for control. You can see why Howard was drawn to this story but there’s a real missed opportunity to go past a campfire story and really say something. Eden aspires to examine human nature, idealism, and the corrupting influence of power, asking us to consider what happens when we try to escape society only to replicate its worst aspects. The island setting, with its Biblical overtones and literal isolation, seems primed to crack open these weighty themes, but instead, we get a surprisingly surface-level survival story. 

As for Eden’s visual palette, it’s pretty drab and one-note. When the Wittmers first arrive, we should see the Galápagos through their eyes…i.e. a beautiful resource-rich paradise. This would create a colorful foundation to play off of—its vibrancy fading alongside deteriorating relationships. What cinematographer Mathias Herndl gives us instead is a journey that starts grey and stays there.

Ana De Armas steals the show as the deliciously haughty Baroness. She’s vampish, frenetic, and so entertaining to watch. She brings all the villain energy you could hope for. Jude Law does a good job of capturing the twitchy energy hiding beneath Ritter’s stiff, pompous exterior. But for some reason, he doesn’t quite pull you in the way you expect his character to. As for Sydney Sweeny, it is very difficult to get past her accent. It is quite distracting and continuously pulls you out of the world. 

The thing to appreciate most about Eden is watching Howard work outside of his comfort zone. The director’s trademark technical precision remains, but it’s applied to material that feels rawer and more dangerous than his usual fare. The film isn’t perfect, but its imperfections feel like the natural result of ambition rather than laziness. In an era where many filmmakers seem content to stay within their established boundaries, there’s something admirable about watching Howard push against his. Eden may not be a masterpiece, but its flaws are born of ambition, making it a bold and welcome addition to Howard’s portfolio.

Eden held its World Premiere as part of the Gala Presentations section at the 2024 Toronto International Film Festival. 

Director: Ron Howard

Writer: Noah Pink

Rated: NR

Runtime: 129m