Urgent Review: Stream or Download “Eddington” Now!

Ari Aster’s “Eddington” serves as a bold yet intentionally vague commentary. It attempts to address the turmoil of the summer of 2020 but ultimately concludes that the chaos surrounding conspiracy theories, mask mandates, protests for racial justice, and the spread of viral content remains inexplicable. Curious about the journey to this state? Tough luck. The answers are elusive—perhaps unattainable.

This thought-provoking film tackles contentious subjects, including racial tensions, while seemingly lacking substantial insights. It appears that’s precisely Aster’s intention. The anxiety, confusion, and divisions that arose when society was urged to isolate or wear masks is vividly echoed in the film, which mixes all these elements into a chaotic blend. Its debuts at Cannes elicited polarized reviews, a trend likely to continue as audiences experience it in theaters this Summer. Expect intriguing discussions, with some praising its ambitious nature as brave, while others might view its exploration of race as reckless. Aster likely aims for that very division, crafting a narrative about polarized communities which he reflects in his audience’s reactions.

This film, which navigates multiple genres, fundamentally embodies a modern Western. The beleaguered sheriff, Joe Cross (Joaquin Phoenix), reminiscent of classic Western heroes, oversees the small town of Eddington, New Mexico, home to 2,634 residents. This locale appears precariously close to conflict before 2020’s upheaval set things in motion. Aster portrays the disorder of 2020 as a malevolent force, the stranger who disrupts the tranquility of the town.

The town’s social hub, a local watering hole, is run by Mayor Ted Garcia (a compelling Pedro Pascal), whose fraught past with Joe and turbulent present adds layers of tension, particularly regarding Joe’s wife, Louise (Emma Stone), and his mother-in-law, Dawn (Deirdre O’Connell). Their history fuel the rising strains, especially during a confrontation over mask usage in a grocery store, where Joe defends a non-compliant local—despite the town being largely unscathed by the pandemic.

Before long, Joe uses the anti-mask narrative as a platform to vie for the mayor’s office, desperately seeking purpose and resorting to increasingly outlandish conspiracy theories to drive home his points. His antics are both sad and humorous, revealing his character’s struggle to find significance in a tumultuous period. The political landscape amplifies Joe’s frantic tendencies, propelling him toward violent outbursts. Aster, known for his stark portrayals in films like “Hereditary” and “Midsommar,” is unflinching in depicting this escalating chaos.

What is he addressing? The film’s exploration of the pandemic merely scratches the surface. It opens with absurd conspiracy theories about Covid, often repeated by Dawn, who clutters the house with printed examples. This theme of a maternal figure exacerbating her children’s anxieties persists in Aster’s work. Louise becomes enamored with a charismatic fraud (Austin Butler) who manipulates her with buzzwords, possibly serving as one of Aster’s narrative misdirections amid navigating various contemporary issues such as COVID, BLM, and viral influencers.

Aster demonstrates a strong visual style throughout, notably enhanced by Darius Khondji’s impressive cinematography, which elevates both the satirical elements and suspense. Lucian Johnston’s editing maintains the film’s momentum through its runtime. The cast delivers commendable performances, particularly Phoenix, whose comedic nuances shine. However, some supporting characters feel more like supporting roles than fully-realized individuals. Young characters who play pivotal roles in the unfolding violence seem more like plot devices than authentic characters, detracting from the emotional impact of the narrative.

A narrative set against the backdrop of law enforcement and societal division in May 2020 can’t overlook the global reaction to George Floyd’s death and the ensuing protests. Here, Aster’s Western sometimes falters. The absurdity surrounding mask mandates may not translate well with the gravity of Floyd’s death. Furthermore, the depiction of non-white characters, particularly as the film turns violent, risks feeling exploitative rather than critically cynical. While serious topics can certainly be addressed humorously, the film’s casual treatment of race juxtaposed with lighter subjects like hydroxychloroquine may create tension and division among viewers.

This division seems intentional. Aster aims to filter the heated debates around masks, conspiracy theories, and protests through this classic Western framework, echoing conflicts typically associated with moral righteousness. It’s not merely a reflection of the dichotomies of 2020; the film itself is designed to provoke debate in 2025. Thus, regardless of your viewpoint, it has likely accomplished its mission.

This review originated from the Cannes Film Festival. The film is set to premiere on July 18^th.