The first thing that strikes me about this film set on Floreana Island is that it’s actually based on a true story. The second is that it’s a Ron Howard film, which seems unusual at first glance, as he’s not the filmmaker that comes to mind upon seeing the trailer. But as I watched the film, it turned out that it’s not as disturbing or outlandish as I had imagined.

Set in the 1920s on the southern part of the Galapagos Islands, we first see a German couple, Ritter and Dore (Jude Law and Vanessa Kirby), rebuilding a new life post-WWI in Floreana. They’re disgusted by the corruption in society and would prefer to live without the comforts of modern life (like electricity, running water, cozy beds, etc.) in their quest for peace and tranquility. Ritter also hopes that fewer distractions can help him focus on writing his manuscript about his radical philosophy aimed at ‘saving humanity from itself.’

However, this search for a peaceful existence doesn’t last long with the arrival of another German family: Heinz (Daniel Brühl), his wife Margaret (Sydney Sweeney, ditching her blond looks for a plain-clothed brunette), and their young boy Harry (Jonathan Tittel). Heinz has been reading Ritter’s anti-establishment articles (which seem to be quite popular in German publications) and decided to move to the island to escape bourgeois values. He also believes that the cleaner air might be beneficial for their son, who suffers from tuberculosis.

The tension is immediately noticeable, as Ritter and Dore are far from friendly and refuse to collaborate with others. I guess that’s to be expected since they relocated to the island to escape from society. They almost seem to set the new family up for failure by intentionally giving them wrong information about the ideal spot to build their home. The two are quite a nasty pair as well as masochists, deriving sexual pleasure from the misfortunes of others. Yet Heinz and Margaret thrive despite the lack of any help; they’re able to tap into clean water and grow a vegetable garden. They are such hard workers, especially Margaret, who announced that she’s pregnant soon after they arrived on the island. Their success only brings more resentment between the two groups.

Things become even more irritating for Ritter and Dore with the arrival of Baroness Eloise von Wagner (Ana de Armas) and her crew, which includes two of her lovers, Rudy (Felix Kammerer) and Manuel (Ignacio Gasparini). She’s thrilled to finally reach the island and has plans to construct a luxury hotel there. I’m not sure how this self-proclaimed Baroness managed to get the funds for the hotel, but she definitely has grand ambitions of attracting British tourists. Again, I have no clue how Eloise intends to do that since the island is quite isolated. No matter, she is delirious and determined, refusing to let anything to stand in her way. Eloise’s male helpers seem to be trained to be ‘yes men,’ even though they all clearly have their doubts about her audacious plans.

De Armas’s exaggerated performance is the film’s lowest point, which leads me to believe she’s miscast. Sure, her character is written as a deeply unlikable person, but the absence of any subtlety in her acting turns her into a caricature. A more talented actor could have made the Baroness enjoyable to watch rather than cringeworthy and irritating. This is especially clear during the dinner scene, where the disgusting reactions from Ritter and Dore reflect my own feelings while watching her. The scene where Eloise tries to seduce George Allan Hancock (Richard Roxburgh), a real-life Hollywood millionaire, comes across awkwardly. I feel that Howard is out of his depth here, while a more daring director could have made this scene way more thrilling and unsettling.

The more Eloise takes charge and pushes forward with the hotel project, the quicker things spiral out of control. The moment she sends her two lovers to grab some food is filled with tension, especially since Sydney is going into labor. I’ve watched a handful of unforgettable birthing scenes in movies, but this one with a bunch of fierce wild dogs really stands out. I honestly didn’t think I’d be most blown away by Sweeney, especially with such an amazing cast. This is my first time seeing the popular actress who’s been making headlines recently due to her AE jeans controversy. Margaret stands out as the most relatable one, and even though she comes off as pretty chill, she really shows her strength and outsmarts those who underestimate her.

As for the rest of the performers, I believe Jude and Vanessa are fantastic and complement each other well as a couple. Their intense sexual chemistry is captivating, yet there’s also such an animosity between them that makes it even more interesting to watch. Fans of Jude will surely enjoy seeing him showcase his natural, ahem, well-endowed gift. I always enjoy watching Brühl in any movie; he’s great here as a conflicted husband and father who’s driven to extremes.

If this were done by filmmakers who lean towards horror, this movie could easily be more grotesque, bloodier, and gorier. However, under Howard’s direction, working on a script by Noah Pink, EDEN remains pretty tame. There are a few intense moments, such as that birthing scene I mentioned above, a knife fight, gunplay, and even a tooth extraction that makes me wince. I know that horror or gory thriller fans might expect more, but I actually appreciate such restraints. By the same token, this extraordinary story could be infused with a bit more oomph overall.

Cinematographer Mathias Herndl showcases the breathtaking scenery and wildlife of Floreana Island, shot on site in Queensland, Australia. I really appreciate the raw beauty and the occasional glimpses of its flora and fauna, but despite its stark beauty, the cinematography doesn’t push any visual boundaries. I found the glorious visuals in Viggo Mortensen’s The Dead Don’t Hurt (shot by Marcel Zyskind) to be more impressive, especially considering it was made on a smaller budget. The music by Hans Zimmer is subtle but effective; it never overpowers the story like this one, where it’s so intrusive that it nearly ruins the movie.

All in all, the amazing true story that fuels EDEN is ripe for a cinematic adaptation. I’m not convinced that Howard, in perhaps his darkest films to date, really captures the essence of the crazy tale. Yet he does effectively illustrate that humans can often be our own worst enemies, even more than harsh weather or dangerous animals.

Have you seen Ron Howard’s EDEN movie? I’d love to hear what you think!
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