Speaking to Reuters on Wednesday during the Cannes Film Festival, Johansson reflected on the film’s central themes. “It seems to be a theme in today’s world that we’re just very quick to judge and kind of cement our feelings about someone or some event,” she said. “It’s limiting.”
The Black Widow star’s directorial debut is competing in the prestigious Un Certain Regard category at Cannes—a sidebar of the main competition that often showcases bold or unconventional films, and a frequent launching pad for new directorial talent.
Johansson revealed that her transition to directing wasn’t premeditated, but the timing and material felt right. “The script was a little gem,” she said. “It resonated with me immediately.”
Eleanor the Great joins a particularly strong lineup in Un Certain Regard this year, facing off against other actor-directed debuts including works by Kristen Stewart and Harris Dickinson. Despite the fierce competition, Johansson’s film received a warm welcome at its premiere, drawing a five-minute standing ovation.
However, critics have offered mixed reviews.
The Guardian gave the film just two out of five stars, suggesting that it “seriously misjudges the seriousness of the story’s premise,” while Variety described it as an “unconvincing crowd-pleaser,” despite the positive audience reception.
While the critiques may be tough, Johansson remains focused on the message of the film and the experience of bringing it to life. Known for her thoughtful performances and commanding screen presence, Johansson said directing allowed her to explore storytelling in a new, more expansive way.
“There’s something liberating about crafting a story from behind the lens,” she noted, adding that she enjoyed the challenge of guiding not just a character, but an entire narrative arc.
As Johansson continues to evolve her career beyond acting, Eleanor the Great marks a significant milestone. Whether or not the film wins top honours, Johansson’s debut signals her entry into a new creative chapter—one driven not by superheroes and spectacle, but by emotional depth and reflection.
For audiences and critics alike, Eleanor the Great may not be universally adored, but it undeniably asks a timely question: Can we slow down, reconsider our judgments, and choose compassion instead?