All 10 Best Eve Hewson Movies Ranked (Best to Worst)

John Carney's Dublin-set crowdpleaser radiates warmth without sanding down the caustic edges of working-class survival. When a frayed single mother recovers a discarded six-string guitar from a dumpster to bond with her alienated delinquent son, what could easily decline into syrupy melodrama transforms into an authentic portrait of artistic awakening and suburban resilience. Hewson seizes her first true showcase leading vehicle with astonishing ferocity. Alternating between lacerating Dublin wit and raw maternal defensiveness, her musical numbers with Joseph Gordon-Levitt crackle with believable flirtatious friction. It remains her crowning achievement, proving she can carry an entire film's emotional gravity on her shoulders.

Steven Spielberg’s immaculate Cold War procedural turns complex geopolitical negotiations into a clinic on everyday moral fortitude. Working from an incisive script polished by the Coen brothers, the film chronicles insurance attorney James B. Donovan stepping into the global spotlight to broker a delicate East Berlin prisoner exchange. Hewson slips effortlessly into the domestic fabric as Donovan's headstrong eldest daughter, Carol. While her screen time is measured, she provides vital domestic texture, reacting to federal raids and suburban paranoia with startled, stubborn authenticity that roots the high-stakes espionage within genuine home-front vulnerability.

Nicole Holofcener crafts one of modern cinema's most literate midlife romantic comedies, finding quiet hilarity and aching grief within everyday neuroses. Julia Louis-Dreyfus and James Gandolfini spark genuine warmth as tentative divorcees navigating bruised midlife romance, complicated by overlapping social circles. Hewson plays Tess, the spoiled, bohemian-leaning college student daughter whose casual intrusions trigger domestic exasperation. She handles Holofcener's sharp, overlapping dialogue with effortless observational bite, sketching an adolescent self-absorption that feels wholly genuine rather than caricature, proving early on her natural aptitude for bittersweet American character studies.

Paolo Sorrentino's English-language debut revels in eccentric melancholy, tracking Sean Penn's Robert Smith-styled retired rock star as he embarks on an absurd cross-country odyssey across America. The film balances stylized European aesthetic excess with surprising moments of spiritual reconciliation. Hewson makes a vivid impression as Mary, the dark-eyelined goth friend who shares languid daytime routines with Penn's reclusive singer in Dublin. Her deadpan line delivery and easy, unvarnished rapport with Penn provide the film's early chapters with charming deadpan groundedness, serving as the launching pad for her international film footprint.

Michael Noer's remake of the legendary 1973 prison epic leans heavily into unrelenting sensory brutality and physical survival within the penal colony of French Guiana. Charlie Hunnam and Rami Malek anchor the narrative's grim machinery with disciplined commitment to their shared brotherhood. Outside the mud and isolation cells, Hewson steps into the thankless shoes of Nenette, the Parisian lover left behind. Though structurally confined to the prologue and spectral memory, she injects genuine elegance and tragic longing into the opening Parisian underworld scenes, giving the protagonist a vivid romantic tether back to lost freedom.

Michael Almereyda bypasses standard biopic tropes in favor of an experimental, fourth-wall-breaking meditation on genius and industrial capitalism. Ethan Hawke plays the visionary inventor with quiet, haunted intensity, while modern anachronisms and projected backdrops interrupt the historic reality. Hewson carries an unconventional narrative burden as Anne Morgan, functioning as both an active historical participant and the film's modern-attired narrator clutching a laptop. Her wry, analytical delivery provides structural glue to Almereyda’s postmodern intellectual puzzle, even if the film's cerebral distance occasionally keeps viewers at an emotional remove.

Guillaume Canet’s gritty 1970s crime drama mines classic Brooklyn neo-noir tropes, pitting Clive Owen's newly released ex-con against Billy Crudup’s straight-laced police detective brother. Lensed with amber-hued period authenticity, the narrative unspools a web of familial loyalty, urban violence, and inevitable betrayal. Hewson occupies a peripheral supporting corner as Yvonne, orbiting the dangerous masculine clashes that dominate the canvas. While her screen presence is naturally magnetic, the screenplay offers her modest dramatic runway compared to the stacked cast, leaving her performance as a quietly competent thread in an otherwise sprawling retro ensemble.

Noah Baumbach’s layered look at aging Hollywood royalty blends existential dread with bitter industry satire. Centered on a fading screen icon grappling with his own celebrity mythology alongside an aging confidant, the film explores legacy with melancholy cadence. Hewson steps into the orbit as a cool, contemporary studio player, delivering her lines with biting professional cynicism. It is a sleek, competent turn within a prestigious ecosystem, yet the role functions primarily as atmospheric texture for the central male midlife crises rather than granting Hewson space to unleash her unique comic or emotional power.

Positioned at the crossroads between modern technological paranoia and high-concept science fiction, this corporate whistleblower thriller chases relentless pacing at the expense of narrative clarity. While the premise involving suppressed extraterrestrial contact and surveillance state overreach offers initial promise, the screenplay quickly tangles itself in breathless exposition and rushed set pieces. Hewson delivers a determined, physically engaged performance as an investigative operative dodging corporate assassins. She extracts whatever emotional truth she can muster from the frantic proceedings, but the generic visual effects and frantic editing continually undermine her character’s dramatic stakes.

Otto Bathurst’s revisionist attempt to turn England's quintessential folklore into an adrenaline-soaked, faux-modern superhero spectacle collapses under its own frantic kineticism. Between machine-gun-speed archery and baffling stylistic choices, the film squanders its legendary source material entirely. Hewson is cast as a leather-clad, rebellious Maid Marian, yet the script strips the heroine of interiority in favor of generic action cliches and an unconvincing romantic triangle with Taron Egerton. Despite Hewson's energetic efforts to project fiery defiance, the chaotic direction renders her performance a casualty of ill-conceived blockbuster excess.