Scarlett Johansson Unveils Her Newest Role at Cannes: Filmmaker

Few contemporary actresses manage to impress both critics and fans while embodying the timeless elegance of classic Hollywood quite like Scarlett Johansson. Amidst an entertainment industry that is constantly evolving—and often facing turmoil—Johansson has remained remarkably steady, gracefully navigating her path without losing relevance or allure.

Now at the age of 40, Johansson is no stranger to the limelight. She has been a public figure for nearly three decades, having made her cinematic debut in the 1994 film North at just 10 years old. By the age of 14, she had already captured the audience’s attention alongside Robert Redford in The Horse Whisperer, signaling the arrival of a young star with exceptional talent. Over the years, her career has included an eclectic mix of indie favorites and blockbuster hits. She has explored music with Pete Yorn, earned multiple Academy Award nominations, and taken on both artistic risks and commercial ventures. Outside of her career, she has experienced her share of personal milestones—three marriages, most recently to comedian Colin Jost, and the joys and challenges of motherhood.

Johansson’s multifaceted career is a testament not only to her talent but also to her strategic thinking. She has consistently made choices that keep her creatively fulfilled while ensuring her longevity in an unpredictable industry. In 2010, she made a much-lauded debut on Broadway in a revival of Arthur Miller’s A View From the Bridge, a performance that earned her a Tony Award. That same year, she stepped into the Marvel universe as Natasha Romanoff, a.k.a. Black Widow, in Iron Man 2, a role that catapulted her to international stardom.

Now, Johansson is embracing yet another role: director. She made her directorial debut at the Cannes Film Festival with Eleanor the Great, a film she also helped produce. Although not featured in the main competition, the film is a heartfelt, character-driven piece that offers an ideal launching pad for a first-time director.

The story centers around Eleanor, a 94-year-old woman portrayed by the legendary June Squibb. After relocating to her daughter’s apartment in New York, Eleanor finds herself accidentally joining a support group for Holocaust survivors. Things take an unexpected turn when a young journalism student expresses interest in writing a story about her. From this unlikely encounter emerges a tender and humorous friendship, filled with poignant emotional beats.

The day after the film’s Cannes premiere, I met Johansson for a conversation. She first graced the festival’s red carpet in 2005 with Woody Allen’s Match Point and returned last year with Asteroid City. This year, in addition to Eleanor the Great, she is also involved in The Phoenician Scheme. The weather during her film’s premiere had been stormy, but by the time we met on a serene hotel terrace overlooking the Mediterranean Sea, the skies had cleared. Johansson, seated in the shade beneath a large umbrella, exuded calm confidence. Dressed simply but elegantly, she wore a diamond ring that sparkled like a scene from a Tiffany showcase. Sunglasses on, she spoke thoughtfully and with measured enthusiasm.

On how the project began:

“I run a production company called These Pictures, and we regularly receive submissions. I wasn’t specifically searching for a project to direct, but I was curious about this script because June Squibb was attached, and I’ve always adored her work. The story immediately struck a chord with me. It reminded me of the independent films I love from the ’90s and early 2000s—intimate, character-focused, and set in New York. The narrative took a turn I didn’t expect. It moved me to tears. I called my producing partner right away and said, ‘I can direct this. I see it.’”

On her transition into directing:

“Directing wasn’t something I rushed into, but I always imagined I might eventually get there. In my early twenties, I concentrated on refining my craft as an actress. I was deeply involved with the directors I worked under and took on roles that pushed my limits. When this script came to me, it felt like a natural progression, not some big leap into the unknown. And having June onboard—so energized and committed—made the timing feel perfect.”

On the personal connection to the story:

“Yes, the story spoke to me personally. I’m Jewish, and Eleanor reminded me of my own grandmother, who had a strong influence on me. She was larger than life and a bit of a handful at times—very much like Eleanor. So in that sense, this wasn’t just a project; it felt emotionally familiar.”

On visualizing the film:

“I’ve spent so much of my life in New York, and I’ve always viewed it through a cinematic lens. I’m someone who loves to watch people; I could do it all day. When I read the script, I could see the film unfold in my mind. I had a vision of how it would look, so when it came time to collaborate with the cinematographer, it was just about aligning our imaginations. I knew I wanted June to be captured in a very pure and sincere way. The cast brought such emotional depth that my role was to keep the visuals simple and honest.”

On early influences:

“I was fortunate. As a young actress, I worked with several female directors, so I never viewed directing as something gender-specific. It never felt out of reach. I read something recently where Natalie Portman said she had a similar experience, and I think we were lucky in that sense. Still, I recognize that this isn’t the case for everyone, and the industry has a long way to go in terms of equity.”

On her future behind the camera:

“I absolutely want to continue directing. It was one of the most fulfilling experiences I’ve had. The atmosphere on set was collaborative, supportive, and joyful. That kind of environment is rare and something I now prioritize. As I’ve matured, I find I’m less willing to tolerate toxicity on set. Life’s too short.”

On her mother’s role:

“My mom initially became my manager to protect me, which I’m thankful for. As I grew older, she stepped back and allowed me to follow my creative instincts. She respected my artistic independence and always supported my choices. We’ve always shared a deep bond.”

On navigating the industry as a child star:

“I grew up in New York, so I had a certain level of street smarts, and my mom knew that. She didn’t worry too much about me being taken advantage of. Still, media portrayal is something you can’t always control. I remember once doing an interview where I was asked an extremely inappropriate question about my body. I was so young and caught off guard, but I felt pressure to answer. It stuck with me.”

On the current state of American cinema:

“I remain hopeful. The industry has gone through a lot, and the strike was especially damaging—more than COVID in some ways. But I believe in the power of cinema, especially when shared communally. Films like Eleanor the Great are proof that intimate stories can still move people deeply when seen on the big screen. If studios recommit to the theatrical experience and diversify what they offer, I think audiences will respond. It’ll take time, but I’m optimistic we’ll find our way forward.”