Movies

Ari Aster’s Eddington: The Pandemic Comedy That Will Leave You Speechless

BBG News

Over the past five years since the onset of the COVID-19 pandemic, numerous attempts have been made to create films portraying its true impact. However, only a handful of these efforts succeeded in accurately reflecting how the pandemic reshaped our lives. It wasn’t merely about adjusting to social distancing and health precautions; it was about the profound transformation society underwent when, due to the pandemic, we were compelled to stay indoors, reliant on technology, as millions worldwide lost their lives.

The tendency towards paranoia, community conflict, and extremely odd behavior was increasing before COVID-19, but the pandemic served as a catalyst for this acceleration. Instead of fostering unity, it created an everlasting rift that divided what once was a shared society into two separate worlds. Ari Aster’s film Eddington seems to be one of the first movies to capture this phenomenon, or at least attempt to do so, despite its flaws. Notably, it is another divisive production from the creator behind Hereditary, Midsommar, and Beau is Afraid.

Eddington Feels Truly Reflective Of The Pandemic – For Better & Worse

In this film, I embody the character of Sheriff Joe Cross, a complex individual who stirs controversy in the small New Mexico town where he resides with his wife Louise (portrayed by Emma Stone) and mother-in-law Dawn (Deirdre O’Connell), who permanently stays with us. I’m against mask-wearing and inclined towards conspiracy theories, my days filled with cosmic podcasts and incessant advice from Dawn, whose deceased husband passed on the role of sheriff to me.

At the other extreme is Mayor Ted Garcia (Pedro Pascal, somewhat underused), whose sunny disposition and strong support for mask-wearing grate on Joe, although there’s an underlying tension as well. The television series Eddington explores a philosophical clash between community leaders, with the story unfolding against the backdrop of the early days of the pandemic when Black Lives Matter protests were erupting across a nation that had been largely confined indoors.

Moving forward, Eddington transforms into an expansive and unyielding depiction of America, revealing its past and imminent future through political maneuvers, strife, and ultimately, violence and a torrent of bullets in the heart of the desert. Reading Eddington might leave you dizzy, not only due to the dramatic twists in its narrative but also the wide-ranging social issues it tackles, such as white privilege, interactions with indigenous communities, and subtle religious and conspiracy themes.

Occasionally, it’s both painfully funny and laugh-out-loud amusing, with Aster, who was also the screenwriter, showcasing his comedic abilities more vividly following his previous collaboration with Phoenix. Conversely, Eddington might be excessively straightforward, skimming over complex topics but stopping short of delving too deeply and causing a significant impact.

In a nod to the structure of a traditional Western, Aster weaves portions of the narrative, gradually intensifying into a chaotic blend reminiscent of ‘No Country For Old Men’ and ‘The Expendables’. To put it mildly, ‘Eddington’ is commendable for its audacity in tackling themes that others might avoid, and when it delivers, it does so with an impactful force.

Austin Butler’s character, subtly portraying a questionable pastor, and a local lad who joins activism for a girl’s affection, make Eddington town characters that stick. Each character has their own part, and most of these roles culminate satisfyingly. However, the director might have bitten off more than they could chew, as the nearly three-hour duration of Eddington leaves some loose ends, making it challenging to fully tie up all the storylines in the end.

The movie is highly likely to ignite fresh discussions about the long-term effects of the pandemic, and on a filmmaking level, it tackles reality in a way that’s unsettling yet still appealing. In contrast, we can be grateful that pandemic-themed films like the overly premature and badly misguided horror flick “Songbird” and the excruciatingly unfunny Netflix production “The Bubble” are no longer being produced. These movies could have fueled conspiracy theories among the residents of Eddington, or simply left viewers feeling less than amused.

Instead, Aster attempts to introduce something novel within the film “Eddington,” though he doesn’t quite achieve it, he skillfully incorporates numerous subtle jabs into a single production, resulting in a thought-provoking representation of our current unsettling circumstances. While “Eddington” lacks the flamboyant aesthetics of Aster’s past work, he is now exploring a distinct brand of fear, one that resonates deeply with our personal experiences. Perhaps aiming to depict the polarization of society following the pandemic, Aster might have produced the most centrist film in his career to date.

Eddington premiered at the 2025 Cannes Film Festival. It will release in theaters on July 18.

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2025-05-17 03:49

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