Ari Aster’s Eddington Is Bracingly Nasty and Unsure of What It’s Trying to Say

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Ari Aster, known for films like Hereditary, Midsommar, and the upcoming Beau Is Afraid, might not initially seem a fitting choice for a movie portraying our current times. However, in this unusual context, horror – along with black comedy – could be the most relevant genres. Ari Aster’s latest film, Eddington, offers a mix of both. Set in May 2020 during the early days of the coronavirus pandemic, Eddington is not like other movies that attempted to depict the feeling of the world coming to a standstill. Instead, it provides insight into how the pandemic has left deep, lasting scars on our nation, serving as a traumatic event that may have permanently altered us.

Set in a fictional New Mexico town named Eddington, Eddington delves into the broader implications of a small community’s struggles. While I didn’t find it particularly enjoyable – I wouldn’t go so far as to say I liked it either – the film does an excellent job of exploring how our collective reality has fragmented in ways that may be irreversible, creating a power vacuum for manipulators and opportunists to exploit.

Joe Cross, portrayed by Joaquin Phoenix as the sheriff of Eddington, isn’t as stable as he appears. He cares deeply for his wife, Louise (Emma Stone), but she has a hesitancy towards physical touch due to a troubling event in her past. Louise’s mother, Dawn (Deirdre O’Connell), resides with them and is a firm believer in conspiracy theories, often sharing her findings with Louise.

Joe dislikes wearing masks despite the mandate, citing general stubbornness and difficulty breathing due to his asthma. While he isn’t a denier of COVID-19, he seems to downplay its impact on his area, viewing it as not a pressing concern. His personal issues stem from Ted Garcia (Pedro Pascal), the local bar owner and mayor, who has a history with Louise, wears an N-95 mask, and emanates a liberal arrogance that Joe finds irritating.

In this captivating narrative, I find myself astonished by the intricate portrayal of culture clashes, as exemplified by the “You are being manipulated” sign on Joe’s truck, the intense, fear-driven altercations over evolving pandemic guidelines, and the thought-provoking Twitter feed of protest-curious teenager Brian (Cameron Mann). However, what truly sets Eddington apart is not so much its stance in these conflicts, but rather its exploration into how the turbulent disruption caused by lockdown sent individuals on divergent paths.

The writer, Aster, seems less concerned with defining sides and more with delving deep into the human psyche. For instance, social media advocate Sarah (Amélie Hoeferle) emerges as the local BLM movement’s spokesperson, even instructing her Black ex-boyfriend, a sheriff’s deputy, on his role in the protests. Louise becomes fixated on influencer Vernon Jefferson Peak (Austin Butler), whose posts about pedophile rings echo her own suppressed history of abuse. Deputy Luke (Luke Grimes), once unfazed by racial issues, starts treating his Black colleague Michael (Micheal Ward) with suspicion due to news coverage of the George Floyd protests, despite claiming he’d never seen color before.

The town of 2,435 inhabitants seems poised for a rapid descent into its ongoing decline or an expansion and exploration of new horizons, yet it remains unclear where Aster stands on these potential outcomes.

Title character Joe, portrayed powerfully by Phoenix, navigates a complex and largely online world in “Eddington.” The filmmaking style here, while less flamboyant than Aster’s previous works, occasionally borders on McKay-esque satire without the characteristic moral lesson. However, the movie manages to avoid this pitfall thanks to Aster’s courage to delve into darker themes and graphic violence. What truly rescues it is Phoenix’s portrayal of Joe’s descent into chaos, which is palpable in his watery-eyed performance.

Joe’s world may be limited, but he intuitively feels its slipperiness, a sensation that terrifies him yet eludes his verbal expression. His impulsive decision to challenge Ted for mayor sets him on a path towards extreme rhetoric almost instantaneously – driven by the desire to defeat his rival and an urge to be the one who will “do the right thing,” with the specifics left undefined. The idyllic community he yearns to return to is a figment of his imagination, while the one approaching via smartphone screens is justifiably frightening due to its chaos, conflicting information, and self-proclaimed leaders vying for attention amidst the din.

In simpler terms, Joe isn’t very loud or organized. At one point, Vernon tells him that he prefers things straightforward and orderly, which is accurate. However, beyond that, Joe aspires to be the hero in this twisted tale. Instead, Eddington portrays him as a tragic character – a role that none of us can escape, regardless of how much we believe we understand about what’s happening around us.

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2025-05-17 01:54