Ari Aster Explains the ‘Very Strong Politics’ of Eddington

by

In each of Ari Aster’s films, starting from “Hereditary” and “Midsommar”, moving on to “Beau Is Afraid” and now “Eddington”, opinions have been more split than before. This fact catches Aster by surprise since he didn’t anticipate that his initial work, a contemplative exploration of grief and demonic possession, would earn a staggering $89 million globally. The success placed a significant commercial benchmark for A24’s rising star, but Aster appears determined to disregard it completely. His latest work is an almost three-hour dark comedy set in a politically tense New Mexico town during the peak of COVID-19’s socially damaging impact.

Aster clarifies that he didn’t plan for “Eddingington” to be provocative, but some responses at its Cannes Film Festival debut in May viewed it as such. Despite being five years removed from the lockdown period, a film depicting tension between Black Lives Matter protesters and anti-mask advocates is bound to infuriate viewers, particularly one that satirizes both factions to criticize American society as a whole. This is a bold move for a director whose last film was considered a significant financial failure (earning only $10 million globally). Additionally, it’s his second consecutive project with Joaquin Phoenix, who portrays Joe Cross, the sheriff of Eddington, a character who is uncertain about masks and engaged in a conflict with the liberal mayor (Pedro Pascal), which is equally personal and political.

Reflecting on the experience of creating “Beau Is Afraid,” a movie I’m extremely proud of and cherish deeply, I can’t help but feel a sense of satisfaction. Initially, I had hoped that the film, which blends elements of comedy and adventure, would resonate more broadly due to its neurotic odyssey. However, it seems that some aspects of it were indeed challenging for audiences. In hindsight, the film’s alienating nature may not have been surprising, but I was thrilled about crafting this grand comic-nightmare epic. I generally avoid strategic thinking, but with “Hereditary,” I did think strategically as I recognized that a horror film might be more appealing to potential producers given my penchant for darker themes.

In simpler terms, the themes in Hereditary, such as possession, haunted houses, and seances, are common and might make it appear more marketable compared to your previous works. However, I found it surprising that it was so well-received, given that I perceived it as a film that inflicts intense emotional pain.

If Beau had been my debut movie instead of one of the other projects I initially aimed to produce first, how do you imagine my career might have unfolded? Well, Beau wasn’t actually the very first project on my list. However, it was the most enjoyable for me to write. The early drafts of Beau were significantly different from the final product. We required the budget we had for Beau to bring it to life as intended. If I had released that initial version first, it would have been severely underfunded. That earlier version of Beau was primarily comedic and more episodic, but it lacked the depth and emotional resonance found in the latter part of the film.

Is it similarly strange? Indeed, that was the case. The reason I chose to produce “Beau” after “Midsommar” instead of “Eddington” was due to a sense that this could potentially be my final chance to create “Beau.

What do you mean by that?
Just that I had a certain amount of goodwill to burn.

To be honest, there was a part of me that recognized the movie’s potential riskiness. After all, I could tell which projects would be easier to produce and which ones were more challenging, and this particular project had less of a proven track record than the others I wanted to create. I couldn’t exactly point to another film and say, “Look, this one was a success.

In the process of marketing the film, you firmly denied that it was based on your autobiography. Reflecting now with some perspective, were you deliberately keeping certain private aspects under wraps?

Are you implying that the story isn’t based on your personal experiences as much as you initially stated?

Well, it depends on how one defines “autobiographical.” None of the events that occur in Beau’s movie character have ever happened to me personally. However, I would say it is emotionally autobiographical because Beau’s perspective on the world mirrors my own to some extent. The film, though, is also a portrayal of extremes and explores themes such as anxiety. It takes the concept of catastrophic thinking and makes it literal. I am someone who experiences a lot of anxiety and ambivalence, and I wanted to create a movie that truly embodied those feelings.

It seems like they were hoping for insights into your bond with your mom, as she’s a significant influence in your life as both a poet and visual artist, and you might not be creating films without her impact.

In regards to working with Joaquin Phoenix on Eddington, the dynamic was similar to what we experienced during Beau. Our relationship can be intense at times, characterized by moments of disagreement followed quickly by reconciliation. This is because we both immerse ourselves deeply in our work, taking it very seriously. Joaquin values the process and experiences difficulties along the way; he often encounters roadblocks and gets lost in his performance. However, getting lost is crucial for him to ensure that the work remains authentic and never becomes routine. So, while these challenges can be frustrating in the moment, they ultimately result in more lively and vibrant scenes.

In my approach, I typically prepare shot-lists and blocking plans before filming, even during preproduction. However, working with Joaquin Phoenix on “Beau” required a change in my usual methods. This project presented an exciting opportunity for me to push beyond my comfort zone, as I felt I had grown too reliant on my initial plans. I was eager to relinquish some control. Joaquin has a knack for sensing when you have a plan, and he prefers not to work with one.

For crucial or complex scenes, I only maintain a vague shot-list, eschewing any rigid plan. Instead, I observe what Joaquin wants to do, and adjust my plans accordingly if necessary or beneficial. Afterward, I compile the shot-list. Joaquin values rehearsals extensively, so we spend the weekend prior to each week identifying key scenes for which we’ll gather the other actors to rehearse at the actual locations. This process helps me establish a strong foundation for decision-making.

Are we referring to him specifically or generally in this context? To clarify, I’m focusing on him specifically for now, but this approach will apply regardless of his presence in the future. Joaquin, at times, might find himself in challenging situations like being swallowed by a black hole or getting stuck. I am no exception; I too can face similar struggles. The journey out of it with him isn’t simple, and that’s what makes it interesting. No one would want an easy process; otherwise, we’d end up with an ordinary movie.

I’m not entirely clear on the term ‘muse’. He’s an exceptional actor who brings energy and life to every scene he’s in. To me, he’s more than just an inspiration; he’s a significant collaborator.

As a movie enthusiast, it’s always a concern when a film like Beau Is Afraid underperforms at the box office. I can’t help but wonder if the audience is ready for a two-and-a-half-hour journey right now, given that we’re still navigating through the aftermath of COVID-19. It’s not just about the film itself, but the current movie landscape feels unpredictable and challenging. Every release seems like a roll of the dice, making it hard to tell what will resonate with viewers.

Could there be something particularly difficult when it comes to commercializing content related to COVID-19? Indeed, given its central role in our lives and identities, it’s understandable why there might not be as much work centered around that period. The reason could be that we haven’t fully processed the magnitude of that moment—a moment still unfolding. However, I believe that time represents the last connection to the world we once knew. It was a point where everyone shared common ground, an agreed-upon reality, even if opinions about it differed.

The film, being made post-lockdown, offers a unique perspective to reflect on that period, as those films produced during lockdown couldn’t. Did you find emotional release in expressing and processing this potentially life-altering episode of our recent history?

Yes, one of the most rewarding aspects of the process was that I had long wanted to create a film set in New Mexico, where I grew up and still have family. With my intimate knowledge of the place, I penned the script while grappling with fear and apprehension about the world. The script was being written during the time the film is set, and it felt like we were on the brink of a catastrophe. Things have since cooled down, but tension persists. Upon returning to revise the script, I visited various small towns in New Mexico, spoke with local police, mayors, sheriffs, and residents from different pueblos and counties to gather insights for my work.

In our conversation, we discussed not only their experiences related to COVID but also their political opinions, particularly concerning New Mexico. It’s quite intriguing since it’s a predominantly blue state, yet many smaller towns lean red. The governor of the state is somewhat contentious, and everyone I spoke with had strong views about the current situation. Many characters in the film are inspired by individuals I encountered. For example, Joaquin’s character was based on a sheriff who oversees a large area with a small population. He had a deep-seated, long-standing feud with the mayor. The mayor, before running for office, carried a gun to a town hall meeting and was expelled. He ran on a platform promising that anyone attending town hall would need to be armed.

Oh my God.
And he won!

Truly intriguing.
The sheriff and he had vast differences on numerous topics, particularly mask mandates. Joe Cross was modeled after this man, even his clothing style. I returned to New Mexico again so that Joaquin could meet him as well as a few other individuals I held in high regard, and we spent an entire day touring the county with the sheriff. He visited us multiple times for consultation purposes.

The decision to make up the location enabled me to create a town that embodied various aspects of the country in a unique way, which might not have been possible with a real American city. For instance, I drew inspiration for a business from Tucamacari during our scouting trips, and incorporated it into Eddington. Truth or Consequences, where we eventually filmed most of the movie, was one of our initial discoveries, but it’s two hours away from Albuquerque, which would have added to production costs due to housing our crew there. However, we ultimately realized that the authenticity and symbolism it offered were essential for our story.

In the beginning of the movie, there’s a wave of memes and online discussions from that time period, including one related to the film “Ma.” Have you seen “Ma”? If so, what are your thoughts on it? I have watched “Ma” and I enjoyed it; it’s quite entertaining. We debated over which meme to use because the one from “The Sopranos,” with Tony in the diner for “my plans” and then a black screen for “2020,” was very popular. Or we considered the one from “My Girl,” featuring Macaulay Culkin and a beehive. I wanted to use the latter, but my team and I decided that many younger viewers might not comprehend it.

I’m glad you chose that one. When it comes to politics, Eddington adopts a satirical approach that targets everyone equally, from white social-justice activists to conspiracy theorists and anti-masking science skeptics. Did you anticipate stirring up some controversy with your work?

In creating this project, I wanted to present as broad a picture as possible while avoiding turning it into a message. The film is intended to depict the chaotic, incoherent state of our current times without becoming a polemic itself. In fact, if you browse Twitter, you’ll find that the movie isn’t any more extreme or exaggerated than what you’d encounter online. I tried to exercise restraint with each character I portrayed, ensuring that they were all portrayed empathetically and from multiple perspectives. While some of these perspectives are in opposition to one another, every character in the film cares about the world and has strong convictions about what’s happening. They simply don’t see eye-to-eye on what those events mean or how they should be addressed.

The aspect that might cause discomfort among viewers is the portrayal of excessive online righteousness as worthy of ridicule. However, it’s essential to clarify that the film does not conflate this with Trumpian anti-science. Although I hold strong political views, I aimed to keep them subtle in the movie. By the end, I hope they become more apparent. I wouldn’t say I’m equating the two situations directly. One side features individuals who can be hypocritical, annoying, and perhaps less sincere than they claim to be. On the other hand, there are people causing destruction and ruining lives. The question is whether we can reflect on our collective madness, observe where we are now, and consider a path towards change: Is there a way to break free from this cycle? Another important point I wanted to emphasize is that these characters were isolated from one another; they had no means of communicating, which is disastrous.

What’s your take on the perspective of Joe Cross in regards to his perception of the world? In the movie, it appears that Joe recognizes there’s a significant problem, a sense of malfunction or sickness within the system. He seems to view the world through an unusual, distinct lens, and this pattern is shared by other characters as well. Initially, Joe is portrayed as someone who perceives the dramatic aspects of the moment, along with the hidden messages and signals. With COVID, there was a clear communication: “Do this, stand here, say this, wear that.

He defies the rules instead of playing along, capturing it on video with his smartphone for online sharing.

After the altercation at the grocery store, his reaction was more about self-righteousness than anything else.

Was there any influence from your earlier work, a contemporary western script, on the creation of Eddington? Given that Eddington is a story set during the COVID-19 pandemic, it seems unlikely, but I was wondering if any themes or characters might have carried over.

I don’t necessarily view this as your least stylish work, but rather one that strays further from horror and surrealism compared to your previous films. So, what direction do you envision taking next, in terms of genre and subject matter? I want to emphasize that my intention for the film was to make it amusing and enjoyable, not just politically charged. The first half is more grounded and naturalistic than the others, but it’s no less formal. Additionally, the movie culminates in an action-packed, somewhat absurd finale.

What are my plans for the future? I’ve got a few concepts brewing. I’ve penned down three separate scripts, each developed independently. I’m unsure which one I’ll tackle next. However, there seems to be a common theme running through them: a strong inclination to remain grounded in the current moment and express my thoughts about this instant.

It seems you’re not primarily interested in creating period pieces at the moment. Instead, I have one project that blends elements of horror and history, another that ventures into science-fiction territory exploring the future. However, I find it crucial to focus on the present, as I believe an artist should mirror their own time. This sentiment resonates with me strongly right now.

I find myself pondering over the current state of movies, particularly because the major studios have stopped producing films similar to those by Alan J. Pakula, with perhaps a few exceptions like Jordan Peele’s work. I miss the kind of movies Pakula made, and this film seems to share some of that spirit, especially more so than “All the President’s Men.” Many filmmakers today, myself included, yearn for the creative era of the ’60s and ’70s, which we consider a golden age for American cinema, along with the ’90s.

In 2023, Aster said, “It’s not a therapy session for Ari Aster. It’s a therapy session for Beau Wassermann. It’s personal, but it’s in no way autobiographical. I’m hoping that there’s something universal going on here, but I don’t know. Maybe that’s just giving away how far away I am from the rest of the human race. But I hope people can relate to Beau and whatever his experience is.”
You can read about her here.
Democrat Michelle Lujan Grisham was elected in 2019 and reelected in 2022. In 2021, she settled a sexual harassment lawsuit involving allegations lodged by a former campaign staffer. Some of her policies have drawn criticism, including backlash from both Democrats and Republicans over a ban on carrying firearms in public.
Army veteran Nathan Dial became the mayor of Estancia in 2017. He was reelected in 2021 after losing a legislative election the previous year.
To avoid a lawsuit from the American Civil Liberties Union of New Mexico, Dial and Estancia’s board of trustees softened the gun resolution to say it “encourages the residents of the Town of Estancia to be steadfast in the lawful and peaceful exercise of their individual freedoms while participating in matters of public interest and in the course of daily life.”
“My plans vs. 2020,” that is.

Read More

2025-07-18 17:59