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There are two types of people in the world, a father tells his daughter. She took care of her ailing mother until her death. Now, she begrudgingly takes care of her bereaved father, going on gin runs to keep him pacified and out of trouble.
It is the mids. Eileen, the jaded wallflower for whom the Ottessa Moshfegh novel and the William Oldroyd film is named, is a young woman living in a wintry Massachusetts town. By day, she works as a secretary at a juvenile correctional facility. By night, she sleeps in the drafty attic of a squalid house to steer clear of her sometimes-gropey dad.
We first meet Eileen in the film sitting in a car parked by the beach, spying on a couple making out in a nearby vehicle. Aroused, she opens the car door, scoops up a handful of snow stained possibly by her own piss, and stuffs it down her tweed skirt. Loneliness, resentment and the desire to escape stoke graphic fantasies of patricide and suicide.
As the two women grow closer, their friendship emboldens Eileen to transform herself from a space-filler to a move-maker. The shoplifting habit, the laxative dependency, the porn mag perusal, the drinking, the impalement fantasies of icicles hanging above the front door, and all the deathly dwelling signal a dark song of stifled anguish.