Movies

What scares Ari Aster these days? His answer is dividing Cannes, so we sat down with him

BBG News

In Cannes, France – “The sun is my arch-nemesis,” Ari Aster states, shielding his eyes as he perches on the sixth-story rooftop terrace of the Palais des Festivals, where the majority of screenings occur. The day is exceptionally bright, so we seek shelter in the shade.

Ari Aster, known for his horror films “Hereditary” and “Midsommar,” is clad in an olive-hued suit and cap at the Cannes Film Festival for the first time with his new project, “Eddington.” This paranoid thriller, set amidst a New Mexican town grappling with pandemic unease, has already made Aster a recognizable name among horror enthusiasts and select audiences from A24. The storyline bears resemblance to a contemporary western, featuring Joaquin Phoenix as the sheriff locking horns with Pedro Pascal’s mayor in tense standoffs. Meanwhile, protests against George Floyd’s murder ignite on street corners, adding a layer of realism. Amidst the chaos, people are seen coughing without masks, contributing to an air of suspicion and unease. The film gradually morphs into something reminiscent of Thomas Pynchon’s works, with its blend of conspiracy theories, drone sightings, and jurisdictional conflicts creating a surreal atmosphere.

Prior to the July 18 premiere, “Eddington” has sparked intense debate at Cannes, with opinions greatly divided. Similar to Aster’s previous film, “Beau Is Afraid,” set for release in 2023, it delves deeper into psychological themes. This work also hints at a new political undertone inspired by recent events, and an exploration of a unique kind of American anxiety. On Sunday, we had the opportunity to interview him about the movie and its response.

Do you wonder how this moment compares to the one I experienced back in 2018 at Sundance, when I witnessed the premiere of “Hereditary” as part of the first midnight audience? It felt like a unique and extraordinary experience was unfolding. How does the ambiance of today measure up against that memorable occasion?

It carries the same sensation. It’s both thrilling and unnerving, leaving you completely exposed and susceptible. Yet, it’s exhilarating – a long-cherished aspiration to debut a film at the Cannes Film Festival.

Have you ever been to Cannes before?

No.

So this must feel like living out that dream. How do you think it went on Friday?

I don’t know. How do you feel it went? [Laughs]

I knew you were going to turn it around.

Everyone seems to inquire about my feelings and thoughts on how the movie turned out. Since I’m the one who created the film, I might not be the most impartial person to ask.

I understand that you’re familiar with the highly acclaimed Cannes film premieres, where reactions can be so intense, it’s reminiscent of the debut of “The Rite of Spring.” Some people adore these films, while others criticize them. Aren’t those the most memorable ones?

Oh, yeah. But again, I don’t really have a picture of what the response is.

Do you read your reviews?

I’ve been staying away while I do press and talk to people. So I can speak to the film.

It resonates with me. I could sense a deep affection for Joaquin Phoenix in the room as he patted my shoulder during the applause. Did you manage to discuss their thoughts about the performance with the cast, or was it simply an enjoyable moment for everyone involved?

From what I gather, they seem extremely pleased with the movie, which is my understanding. It’s been a delight being in their company.

Regarding the production of “Eddington,” in light of your mentioned films like “Hereditary,” “Midsommar,” and “Beau Is Afraid,” how challenging was it to produce “Eddington”?

Each one presents a challenge. We’re consistently striving to maximize our available resources, which means they’ve all been fairly tough, albeit in unique manners.

Could we possibly conclude that the themes in your recent films, such as “Hereditary” and “Midsommar,” have expanded to cover a broader range of societal and political issues compared to earlier works?

I’m simply acting on instinct rather than conscious thought, as there’s not much strategic planning involved. Essentially, I ask myself: What captures my interest? As for the movie, I felt deeply anxious about recent events in my country and globally, so I chose to create a film that reflects those feelings.

This was circa what, 2020?

I began working on it back in June 2020, with the intention of creating a movie that captures the sensation of existing in a world where people can’t agree on current events.

You mean no one agrees what is happening in the sense that we can’t even agree on the facts?

As a moviegoer, I’ve noticed a significant shift over the past few decades in the social fabric of mass liberal democracies – a shared understanding of reality that has been the backbone of these societies. We may have disagreed on various aspects, but we generally knew what we were arguing about. However, this common ground seems to be eroding, and I believe COVID-19 served as the final blow, symbolizing the end of an era where democracy could effectively act as a check against power, technology, and finance. This notion of democracy as a balancing force is now just a distant memory.

At that point, it seemed as though I was experiencing a moment of great concern. I’m guessing I’m not the only one feeling this way. Consequently, I decided to create a movie focusing on environmental issues, rather than myself. The film primarily explores the vast chasm between politics and policy. Politics often serves as a public relations tool, whereas policies are actions taking place. The reality is changing swiftly and dramatically.

I view “Eddington” more like a chilling horror movie. The terror it evokes is that of unanchored political fear, and that’s what’s causing your current apprehension. Regrettably, we have no power to manage or contain this situation.

In simpler terms, we find ourselves in a situation where we feel helpless and uncertain about our future, as it seems to be guided by individuals who lack faith in what’s to come. Consequently, we are engulfed in an overwhelming sense of hopelessness.

Movies

Along the Croisette, Ari Aster’s film ‘Eddington’, featuring Joaquin Phoenix and Pedro Pascal, along with a powerful directorial debut by Harris Dickinson (formerly known as ‘Babygirl’), captivates interest.

During the lockdown, I was just sitting on my phone doom-scrolling. Is that what you were doing?

Absolutely. The internet initially held a lot of positive vibes, as it was envisioned to unite and connect people. However, as often happens, finance eventually entered the scene, which diverted its course from its original purpose. Back then, you would access the internet from your home computer, perhaps checking emails, with everything taking an eternity to load. With smartphones, we’ve essentially moved into cyberspace, so we now dwell in the realm of the internet.

What’s swallowed us up, overpowered us, and we can’t seem to perceive it clearly – the truly insidious aspect of our society and this particular time is that it’s terrifying, dangerous, catastrophic, absurd, ridiculous, foolish, and utterly unbelievable. It’s challenging to take it seriously.

In my perspective, did that “over-the-top” or “unusual” aspect inspire you creatively to craft a piece with a distinct blend of dark humor? To me, there are instances where “Eddington” seems more comedic in nature.

In truth, there seems to be an ironic or absurd situation unfolding. What I aimed for was a genuine western production, as westerns symbolize the spirit and mythology of America, the nostalgia they evoke. I’m intrigued by the contrast between the idealistic vision of America and its true nature.

You’ve incorporated some Western themes, such as Gunther’s Pistol Palace, which is reminiscent of classic Western settings. Additionally, the climax, with its heavy weaponry, bears resemblance to the intense, violent endings found in “No Country for Old Men.

Joe is a sheriff who cherishes his wife and takes pride in serving his community. He’s reached the age of 50 and, as someone who grew up watching ’90s action movies, he finds himself living through one.

Could you take a moment to reflect on your circumstances before embarking on writing “Beau Is Afraid.” Recall, you were wrapping up that project, weren’t you? Can you describe what your life looked like during that period? You were experiencing anxiety and keeping an eye on the news while simultaneously starting to draft a script. How would you describe that creative journey for you?

At that point, I resided in New York, specifically in a compact apartment. However, due to a COVID-related concern within my family, I found it necessary to return to New Mexico. I desired to be close to my loved ones during this time. My stay lasted around two months, and I felt compelled to create a film that captured the mood of the world, the pulse of the nation.

Were you worried about your own health and safety during that time?

Of course. I’m a hyper-neurotic Jew. I’m always worried about my health.

Additionally, I’d like to know how the truth unfolded. How did the individuals who eventually became part of your cast respond when you initially shared your script with them? And what was Joaquin’s initial response like?

I recall that he felt strongly drawn to the character and adored Joe, expressing his desire to portray him, which filled me with enthusiasm. I cherished collaborating with him on “Beau,” and I provided him the script in hopes he would be interested. The response was swift and enthusiastic, with everyone eager to join the project. There was a palpable energy and passion for the production. Prior to this, I had an existing friendship with Emily [Emma Stone, whom Aster calls by her birth name], and now we’ve all formed close bonds. I admire them not only as talented actors but also as individuals. The entire experience was smooth and enjoyable.

Movies

Wes Anderson specifically crafted ‘The Phoenician Scheme’ with actors in mind. As we approach its premiere at Cannes, we had a chance to chat with Del Toro about his most significant professional undertaking yet.

Have you found that there aren’t too many notable films specifically centered around the pandemic yet? Did creating this work feel like you were venturing into uncharted territory?

I don’t think that way, but I was wanting to see some reflection on what was happening.

Even in the seven years since “Hereditary,” do you feel like the business has changed?

Absolutely, there’s a sense of transformation in the air. It seems as though everything around us is evolving. I find myself reminded of Marshall McLuhan and his theories on how we transition from one medium to another. For years, the internet has been the leading, influential, and dominant medium, shaping the world as we know it. However, we’re now venturing into uncharted territories with artificial intelligence, which adds an element of uncertainty to our future. This is perhaps why there’s a renewed appreciation for traditional forms of media like film and 70mm presentations nowadays.

Do you ever feel like you got into this business at the last-possible minute?

Without a doubt, it’s a blessing to produce the movies I desire, and I consider myself fortunate for having the opportunity to create this particular film.

In “Eddington,” there’s ample opportunity for any viewer to discover aspects of themselves reflected, as well as confront new ideas. It doesn’t cater solely to those already convinced. Was this your intention when creating it?

Apologies for the brief pause, I’m gathering my thoughts as I delve into discussing the film. Essentially, this movie is an exploration of our shared experiences and underlying similarities. Although I’m not a social scientist, I believe it’s crucial to highlight these connections. Moreover, the film aims to shed light on environmental issues that are close to my heart.

Recently, someone asked me if I had any hope, and my response would be that indeed, I do harbor hope, but it’s not accompanied by full confidence.

It’s easy to be cynical.

However, it seems that if there’s any chance for improvement, we must interact again. For my part, I made a conscious effort to avoid passing judgment on the characters. I don’t judge them. I’m not striving to judge them.

I appreciate the freedom your partnership with A24 gives you to express yourself artistically, allowing you to explore wherever your creativity takes you.

They’ve been incredibly helpful. This is fantastic as it allows me to create these movies without any concessions.

Do you have an idea for your next one?

I’ve got a few ideas. I’m deciding between three.

You can’t give me a taste of anything?

Not yet, no. They’re all different genres and I’m trying to decide what’s right.

Let’s hope we survive to that point. How are you personally, apart from movies?

I’m deeply concerned and quite disheartened with the current state of affairs. A fresh change or a new beginning is necessary, don’t you think?

You mean like a new political paradigm or something?

Indeed, the current system is an evolution from one that has fallen short in the past. Yet, it seems the only proposal being put forward is a return to the old, problematic system. The concept of unity or a collective is indeed challenging to visualize. How might this be achieved? What could potentially balance out power dynamics? I find myself feeling increasingly disempowered and hopeless as a result.

The new system we have now came from one that didn’t work well. People are suggesting going back to the old one, but that seems impossible. It’s hard to imagine working together. What could make this happen? Is there something that can balance out power? I feel like I have no control and am losing hope.

Hey Ari, today’s a stunning day, and it’s tough not to feel optimistic when you’re in Cannes, especially with the sun shining. In such a short time, “Eddington” has turned into a topic of discussion and debate among film enthusiasts. Isn’t it exciting that your movie belongs to this category?

This is intended for such discussion, stirring debates among people. I hope it’s thought-provoking enough that it requires careful contemplation.

Read More

2025-05-18 21:31

Previous post X Factor Legend Big Tony Dies at 64 After Close 8-Year Work with Simon Cowell
Next post How ‘Jaws’ Revolutionized Action Movies and Inspired Jason Statham’s Shark-Fueled Thrills