A $100 million political thriller that critics called 'incomprehensible'

Entertainment · Published 20 October 2026 · Updated 25 October 2026 Swipe more like this →

In short: How do you adapt a dense, internal novel about American imperialism into a coherent film? Director Dee Rees attempted to turn Joan Didion’s prose into a high-stakes thriller, but the result was a polarizing cinematic paradox that left audiences—and critics—confused by its scale.

Directed by Dee Rees and based on Joan Didion’s 1996 novel, The Last Thing He Wanted follows Elena McMahon, a journalist investigating illegal arms trafficking in Central America. The narrative weaves through the Reagan era, featuring real-world figures like Secretary of State George Shultz. The film explores the mechanics of American imperialism, personified by the character Treat Morrison, who represents 'the system' in a micro-level interaction with Elena.

To capture Didion's specific style, Rees worked with cinematographer Bobby Bukowski to mirror the novel's 'stream-of-consciousness' speed. The production aimed for a sense of 'isolation and uncertainty' in nearly every frame, drawing inspiration from classic thrillers like The Parallax View. However, the adaptation faced significant hurdles. To clarify Elena's behaviour and reasons, Rees introduced fresh figures like Alma and enhanced 'connectivity' since the book's anonymous perspective and internal focus were restrictive.

The film's reception was overwhelmingly negative, earning a 5% score on Rotten Tomatoes and a 35 on Metacritic. Critics described it as an 'overload of information' with 'choppy editing,' struggling to balance the massive scale of U.S. meddling in Central America with the intimate story of one woman. Despite the backlash, the film remains a notable example of the difficulties inherent in translating complex, literary political fiction into a visual medium.

The production also served as a vehicle for specific thematic choices. Rees intentionally cast Ben Affleck to bring 'racial awareness' to the story, highlighting Elena's refusal to trust the black character Jones despite his repeated efforts to save her. This choice was intended as a commentary on race and heroism that was notably absent from Didion's original text.

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