Ari Aster’s "Eddington": A Haunting Satire of a Brainwashed Nation
Ari Aster, known for his unsettling works like Hereditary and Midsommar, invites us to revisit the eerie landscape of May 2020. Remember the social distancing, the cries of "I Can’t Breathe," and the whirlwinds of protests? It’s almost surreal how these societal fractures feel alarmingly relevant even today, as if we’re trapped in a Groundhog Day of perpetual chaos.
A Time Capsule of Crisis
Eddington, set during those troubling days, transcends traditional period piece boundaries. While the film is rooted in the pandemic, take away the masks, and it feels almost contemporary. The divisiveness of the time is no less palpable today, echoing the phrase shared in Cannes: "Plus ça change, plus c’est la même chose." The political landscape remains just as tumultuous, and Aster’s narrative is a reflection of our collective fears—we’re still haunted by the same anxieties.
Welcome to Eddington
In the small town of Eddington, New Mexico, a potent mix of political satire and psychological thriller unfolds. The town sheriff, Joe Cross (played by Joaquin Phoenix), embodies the chaos, refusing to enforce mask mandates. Personal freedoms, he argues, overshadow public responsibility. Meanwhile, Mayor Ted Garcia (the charismatic Pedro Pascal) stands in sharp contrast to Cross, as their tempestuous history resurfaces amid a looming data center debate and relationships gone awry.
Strife in the Streets
After a confrontation at a local supermarket, Cross seizes a political opportunity. In a spontaneous Facebook livestream, he announces his candidacy for mayor, setting off a whirlwind of smear campaigns. His wife, Lou (the brilliant Emma Stone), is less than thrilled, especially as she grows fascinated by the conspiracy theories of Vernon Jefferson Peak (Austin Butler). This entanglement of ideology tears apart their domestic life.
Teenage radicalism also simmers beneath the surface as young Brian (Cameron Mann) rallies friends behind Black Lives Matter and confronts the realities of privilege. His growing rivalry with the mayor’s son, Eric (Matt Gomez Hidaka), ignites further chaos, blending youthful passion with political tension.
The Fallout of Political Ambition
As Cross’s attempts to smear Garcia explode in his face, the ensuing chaos encapsulates the first half of Eddington. Aster’s satire comes to life, critiquing social media warriors and the absurdity of contemporary activism. One standout moment features Garcia, a faux-spiritual politician, tenderly playing the piano—serving as an unforgettable metaphor for hypocrisy in politics.
A Deep Dive into Character
Cross is portrayed as a quintessential “Great American Caricature,” reminiscent of infamous lawmen like Joe Arpaio. Phoenix’s performance is layered, blending bravado with existential wounds. This lack of subtlety adds to Aster’s critique, mirroring the world he aimed to satirize with both-sides misanthropy.
Twists and Turns Await
As the film progresses, a cover-up shifts the tone, drawing comparisons to the Coen brothers’ style. The antics of Cross and his deputies amplify the absurdity, leading to an unexpected twist that unveils Eddington‘s core—a conspiracy thriller reflecting a nation teetering on collapse. The narrative reminds us that paranoia often intertwines with reality.
Ari Aster’s Disturbing Craftsmanship
With Eddington, Aster boldly re-enters the realm of nightmarish storytelling. His ability to deliver shocking plot twists while exploring profound themes continues to solidify his reputation in cinema. The film culminates in a chilling exploration of corruption and societal decay, prompting viewers to recognize the darker strains of our reality—a possession parable of both civic and personal demons.
In this captivating blend of horror and satire, Aster crafts a narrative that deeply unsettles, leaving audiences feeling both unnerved and reflective. You might wish it was merely fiction, but the harrowing truths echo resoundingly—perhaps too close to nonfiction for comfort.
For more insights on Eddington and Ari Aster’s unique filmmaking approach, you can explore references on Rolling Stone and Cannes.
