Director Scarlett Johansson’s feature debut, “We Are What Remains,” has all the makings of a powerful drama. With a talented cast and timely subject matter, it’s a shame that the film’s intentions are often misguided.
At its core, the movie tells the story of Eleanor Morgenstein (June Squibb), a 95-year-old Jewish woman who joins a local senior group to connect with others after losing her best friend, Bessie (Rita Zohar). As the narrative unfolds, it’s revealed that Eleanor is pretending to be a Holocaust survivor, inspired by Bessie’s memories and stories.
The film’s tone is consistently sentimental, often veering into TV-movie territory. This makes it challenging for the story to grapple with its complex themes, particularly when exploring the existential nightmare of a character facing dementia. Additionally, the subplot involving Eleanor’s potential placement in a care home feels like an afterthought.
What’s most disappointing is how the film tackles the sensitive topic of Holocaust survivor imposture. The script seems to avoid any meaningful discussions about this issue, which could be seized on by neo-Nazis and Holocaust deniers. This oversight is particularly egregious given Scarlett Johansson’s own Jewish heritage and family history.
With a strong cast, including Chiwetel Ejiofor and Jessica Hecht, “We Are What Remains” has the potential to be a moving drama. However, it’s ultimately let down by its naive approach to its themes and its failure to tackle difficult subjects with nuance.
Source: https://www.theguardian.com/film/2025/may/20/eleanor-the-great-review-june-squibb-scarlett-johansson-directing-debut