Dir: Ari Aster
Cast: Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O’Connell, Michael Ward, Austin Butler, Emma Stone
Stellar performances and Aster’s fearless direction pull you into this powder keg of a town, but by juggling too many sensitive topics, the films feels as subtle as a knife to the head
Writer-director Ari Aster made a profound impact on the cinematic landscape in 2018 with “Hereditary”, a film that seeped under viewers’ skin and refused to leave. He then delivered “Midsommar”, a sunlit nightmare that transformed a break-up into a folk horror fever dream. Now, Aster sets his sights on traumatising audiences once more, this time by plunging us into the darkest times in modern history, 2020. Though five years have passed, the year the world shut its doors still lingers in our collective memory, its aftershocks rippling through society even now. The Covid-19 pandemic confined us to our homes, but 2020 also unleashed waves of political, economic, and social upheaval, earning its reputation as one of the bleakest chapters in recent history.
Daring to revisit a year that stripped so many of their jobs, homes, and even loved ones is a bold gamble by Aster and A24, the indie studio that has championed all four of his films to date—including the infamous box-office flop “Beau is Afraid”, which incidentally, marked my own debut as a reviewer on this page back in 2023. Despite its polarising reception and disappointing returns, Aster remains a magnetic force in the industry, his films etching themselves into viewers’ minds for better or worse. Narrative flaws and self-indulgence aside, “Beau is Afraid” showcased Aster’s knack for orchestrating nerve-shredding set-pieces, with a first act so anxiety-inducing that it left me a nervous wreck.
All this acclaim fuelled a lively buzz ahead of the Cannes premiere of Aster’s pandemic-era western “Eddington” in May. While early reviews were mixed, critics agreed on one thing: its divisive nature could make it one of the year’s most hotly debated films. That only heightened my curiosity, knowing Aster was once again unafraid to rattle and provoke his audience—this time swapping horror for the sharp edge of dark comedy.
I was fortunate enough to catch an early screening of “Eddington” ahead of its 22nd August release here in the UK, and much like his previous films, I came out knowing there was plenty to unpack and writing this review would not be quite so simple.
Set in the close-knit New Mexico town of Eddington during May 2020, the film follows Mayor Ted Garcia (Pedro Pascal) as he enforces strict lockdowns and mask mandates, sparking fierce opposition from the asthmatic sheriff, Joe Cross (Joaquin Phoenix). Their clashes escalate as Ted campaigns for re-election, prompting Joe to run against him. This decision only widens the rift between Joe and his emotionally fragile wife, Louise (Emma Stone), who dreads the spotlight invading her solitude, and draws scorn from her conspiracy-obsessed mother, Dawn (Deirdre O’Connell).
With tensions simmering toward a breaking point and reports of nationwide unrest following the death of George Floyd, Joe’s paranoia grows, and he ramps up his campaign. Meanwhile, his deputies Guy (Luke Grimes) and Michael (Michael Ward) struggle to keep order as local Black Lives Matter protests surge, led by teenage social media firebrand Sarah (Amelie Hoeferle) and Ted’s own son, Eric (Matt Gomez Hidaka).
As seen in his previous three feature films, Aster once again demonstrates his mastery behind the camera, expertly wringing every drop of tension and sly humour from each scene. Darius Khondji’s cinematography breathes new life into classic western visuals, while the brimming score by Daniel Pemberton and Bobby Krlic ratchets up the suspense, scene by scene. Aster conducts this volatile town like a maestro, watching it unravel until it erupts in a finale that is as explosive and bullet-riddled as it is unforgettable, pushing the anxieties of pandemic-era America to their breaking point. Though “Eddington” runs a solid two and a half hours—shorter than the three-hour marathon that was “Beau is Afraid”—the time flies by, drawing you deep into the world of a fictional New Mexican town that mirrors a nation on the edge.
The film’s relentless shifts in tone and its unpredictable energy are what keep it moving, even as the story itself presents a fairly straightforward portrayal of societal upheaval. Yet, in his attempt to tackle a mountain of contemporary issues, Aster trades nuance for blunt force, lampooning the extremes of both the far left and right with a heavy hand. Throughout, he hammers home the dangers of political extremism, as if the audience needs reminding. The film also touches on the influence of social media, the chaos of political protests, and the shadowy world of child trafficking, though the latter is largely side-lined in favour of pandemic-era anxieties. Trafficking, a subject that demands sensitivity and depth, is instead treated with a frustrating vagueness, its subplot connecting Emma Stone’s haunted Louise and Austin Butler’s questionable public speaker Vernon. When Vernon recounts his memories of being sold into the sex trade by his father, both the audience and Joe are left questioning the truth, but the film offers little more than a device to further wedge Louise away from Joe’s scepticism. Ultimately, the film’s cynicism is all-encompassing, and it feels as though Aster is overcorrecting for the bewildering, alienating journey of maternal suffocation of his previous film.
Despite its thematic rough edges, Aster draws stellar performances from his cast, with each actor fully embracing the film’s offbeat blend of Western grit and dark comedy. Phoenix commands the screen as the lead, his character’s questionable morals and shocking choices making him as compelling as he is unpredictable. Pedro Pascal, capping off a whirlwind summer after starring in “The Fantastic Four: First Steps” and “Materialists”, brings his signature warmth and charisma to the role of the Mayor, hinting at the shadows lurking beneath his polished exterior—even if his time on screen is briefer than expected.
The Verdict:
Ari Aster once again jolts his audience with a wild blend of comedy and chaos, painting a nation teetering on the edge during the Covid-19 pandemic. Although the filmmaker hungrily explores more sensitive themes than he can skillfully digest, this neo-Western remains a mesmerising and unpredictable echo of a shadowed chapter in modern history. With whispers of a sequel on the horizon, curiosity lingers about the fate of the fictional New Mexico town as it staggers through the aftermath of disaster.
Eddington is showing in UK Cinemas from Friday 22nd August
Dan Loves Film 
I’m torn about his work…we LOVED “Midsommar” a bit more without the extended cut, and his films are getting longer and longer….I have no issue with running time, but there are a few cases among notable Directors (Scorsese for one) where the films lose a bit of urgency…sounds like that’s not the case here as much as tackling a lot of things and stuffing them all into one film. I will see this of course and always enjoy your reviews and insight.
LikeLiked by 1 person
He certainly is a divisive filmmaker, and leans towards slow burning narratives as all his films are pretty long. Would be interesting to see him direct someone elses screenplay to see how he would adapt
LikeLiked by 1 person