‘Eddington’ Review: Joaquin Phoenix and Pedro Pascal Square Off in Ari Aster’s Brazenly Provocative Western Thriller, Set During the Pandemic the Film Says Made America Lose Its Mind

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Instead of creating movies that are simple statements conforming to established ideologies, many filmmakers today opt for this approach. However, in “Eddington,” Ari Aster, the writer-director behind “Beau Is Afraid” and “Midsommar,” delightfully discards any trace of liberal art-house conventions. His teasingly bold, sociological Western thriller set in space is refreshingly unconventional.

The movie takes place in the desert town of Eddington, New Mexico, during the summer of 2020 when COVID-19 was widespread. What sets it apart from typical narratives is that its protagonist, Joe Cross (played by Joaquin Phoenix), is one of the few characters who refuses to wear a face mask despite being an asthmatic. He disregards the statistics and concept of lockdown, showing a bold disrespect for COVID-19 guidelines. However, it’s not immediately clear if the film endorses Joe’s stance, as he is portrayed as a flawed character, albeit one we are supposed to empathize with. Phoenix delivers an earnest and well-meaning performance, but his character, Joe, is depicted as disorganized and chaotic overall.

As the reel unfolds, the George Floyd incident unfurls, spurring anti-racist youth protests in Eddington. The film presents these young activists as a misguided group, their self-image mirroring the very privilege they aim to dismantle. It’s not just that Aster satirizes them; his intention is to expose the addictive nature of moralistic self-righteousness that has gripped America.

However, the fact that he initiates the movie by ridiculing COVID safety guidelines, followed by poking fun at the trendy radicalism among affluent white youth, might momentarily make you question if Ari Aster has transformed into a right-leaning filmmaker, flinging ideological grenades akin to Fox News soundbites.

Essentially, “Eddington” isn’t just a simple portrayal. Director Aster is aiming to highlight what he sees as America’s reflective mirror during the pandemic period. He labels this time as The Great Crack-Up, the point when the nation seemed to lose its collective sanity. However, the film delves into various aspects of this period, drawing from a broad cultural and ideological spectrum. The movie expresses empathy towards the growing belief that the sense of control during the COVID years was excessive. The town of Eddington, although larger than a small town with sprawling streets and buildings, appears deserted, creating a chilling atmosphere; it symbolizes a nation drained, depleted, and bereft of future aspirations. A scene where a teenage boy is scolded by his father for attending a gathering (meeting friends in the park) instills a sense of surrealism.

However, COVID-19 serves as the catalyst. The movie “Eddington,” while not a comedy, portrays an angry, ominous, and perhaps mad new America with a dry, apprehensive sense of delight. It offers a grand depiction of this transformed society. In Aster’s portrayal, what befell America is not solely about COVID-19 but also the far-reaching effects of the relentless rules during the pandemic on us. It’s about the surge of the new dogmatic moralism. It’s about how conspiracy theories, once predominantly associated with the liberal-left, became the new fad among Middle America to such an extent that questioning the government for lies and coverups (such as the alleged plandemic) shifted from a rebellious stance to a form of authoritarian instinct.

The narrative also delves into the growing unease surrounding gun culture, as well as the fear that has amassed around the troubling matter of pedophilia (a phenomenon that initially gained momentum during the day-care abuse trials and missing children’s milk cartons in the 1980s, and later gained traction with QAnon and Pizzagate). It explores how social media transformed into a disquieting funhouse of mirrors, amplifying these harmful influences to such an extent that it seemed as though distorting reality was the underlying purpose. Lastly, it sheds light on the looming rise of big tech (represented here by a colossal data center proposed by a corporation called solidgoldmagikarp), which serves both as the architect and recipient of this funhouse of mirrors.

Eddington, despite its intellectual depth, provides a more approachable and relatable viewing experience compared to Aster’s previous film, “Beau Is Afraid,” a painful surrealist art ordeal. This new movie runs for approximately 2 hours 30 minutes, and it does venture into something eerily otherworldly towards the end. However, for the majority of its runtime, Aster captivates us with a grounded and strangely compelling narrative that subtly incorporates themes of the pandemic era.

two decades prior, Garcia had an affair with Louise (Emma Stone) when she was only 16, resulting in a pregnancy. Louise underwent an abortion and later married Joe, the man she is still with today. They reside in a secluded ranch house atop a small hill, along with Louise’s overbearing mother, portrayed by Deirdre O’Connell, who moved in during the COVID-19 pandemic. However, Louise has a history of mental health issues, and Emma Stone plays her convincingly as a fragile and worn-out character.

The marriage is precariously balanced, ready to crumble when Austin Butler, portraying Vernon with a charm reminiscent of young Johnny Depp, enters the scene as a member of what seems like a cult focused on helping victims of child sexual abuse. Seated in the Crosses’ kitchen, he shares his account, an oddly vivid recollection that has replaced other memories. The tale is so bizarre and outlandish that one wonders: Is he here to help or to alter their identities? A more critical question arises: Is this what “salvation” is evolving into in America? Caught up in Vernon’s persuasive charms, Louise quickly leaves Joe, leaving him heartbroken.

In simpler terms, the movie explores how the distortion of truth that’s becoming prevalent in politics and media also affects personal relationships. For instance, when the Black Lives Matter movement arrives in Eddington, it leads to a mix-up of societal and emotional responses. The film supports the legitimacy of the protests against George Floyd’s murder, but it critiques certain aspects of middle-class activism, showing how it can influence people like Sarah, Amèlie Hoeferle’s character, who becomes so devoted that she resembles a radical from the Weather Underground. The story also follows Brian, a local young man who initially just wants to flirt with Sarah but later experiences a significant change in identity (with a satisfying conclusion). Lastly, it portrays Michael, a Black police officer working for Joe, who is a model citizen but finds himself targeted by extremist terrorists claiming to be saving him.

It’s undeniable that Art Aster takes on a fiery, thought-provoking role in “Eddington,” much like Todd Field did with the confrontation between Cate Blanchett’s Lydia and the BIPOC student at Julliard in “Tár,” who questioned her commitment to composers of dead white males. Although determining the exact perspective of “Eddington” will likely spark heated discussions, I contend that this isn’t about Aster emulating a youthful, A24-backed David Mamet. Instead, what he presents in “Eddington” is a reflection of an entire society, encompassing both left and right ideologies, as well as the center, unraveling and losing touch with shared values.

The film revolves around the theme of things falling apart, and this sentiment is skillfully portrayed through Phoenix’s emotionally detached yet heart-wrenching performance. It’s not one of his best roles, nor his weakest, but it’s certainly not his usual showboating style. There’s a sense of bittersweet melancholy surrounding the character, Joe, who finds himself in over his head. Despite his questionable actions later on, you continue to cheer for him. For a time, the movie transforms into a suspenseful, brooding thriller, with Joe’s investigation team contrasting against the efforts of Officer Butterly Jimenez (William Belleau), who we suspect might evolve into a character reminiscent of Inspector Javert.

Initially, “Eddington” appears to be a straightforward suspense movie, but soon it veers into uncharted territories that leave you bewildered. Unlike “Beau Is Afraid,” it doesn’t lose itself in the twisted labyrinth of its ideas. However, it does exhibit a tendency towards abstraction. Ari Aster’s proclivity for indulgence is evident, though here it’s kept in check. Yet, this very same impulse is what makes him an intriguing filmmaker in “Eddington.” He strives to present the grand scheme of things, and while “Eddington” isn’t a horror movie per se, it touches upon a kind of madness that will resonate with you subtly.

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2025-05-16 20:48