Director: Ari Aster
Writer: Ari Aster
Stars: Joaquin Phoenix, Pedro Pascal, Emma Stone
Synopsis: In May of 2020, a tense standoff between a small-town sheriff and the mayor ignites chaos as neighbors become adversaries in Eddington, New Mexico.
Ari Aster’s Attempt at Satire: A Missed Opportunity with ‘Eddington’
When Ari Aster’s “Beau is Afraid” graced theaters two years ago, I proclaimed him a master manipulator of emotions—a filmmaker capable of wielding dread like a finely-tuned weapon. With the eerie prowess reminiscent of A Clockwork Orange, Aster has become synonymous with dark, provocative storytelling. However, in his latest venture, “Eddington,” Aster stumbles, veering away from sharply crafted satire into the realm of tired farce.
An Ambitious Concept Hampered by Execution
“Eddington,” competing at the 2025 Cannes Film Festival, promises a fusion of Western and dark comedy set against the backdrop of a pandemic-stricken America. Aster attempts to deliver a biting commentary on social, psychological, and political chaos during the early 2020s. Unfortunately, this ambition becomes diluted, transforming what could have been a razor-edged satire into a confusing farce, leaving viewers scratching their heads rather than laughing.
Phoenix steps into the shoes of Sheriff Joe Cross, who embodies the mishaps of a nation in distress. Aster’s previous collaboration with Phoenix provided a surreal exploration of Freud’s Oedipus complex in “Beau is Afraid.” Here, Aster draws inspiration from his personal anxieties, questioning what America has become. But the film lacks the subtle provocations that characterized his earlier work.
Setting the Scene: A Clash of Ideals
Set in the fictional town of Eddington, home to 2,400 residents, the narrative kicks off in May 2020 with Sheriff Cross being pulled over for not wearing a face mask. This seemingly innocuous moment spirals, placing him at the heart of a conflict with Mayor Ted Garcia (played by Pedro Pascal), who is desperately trying to navigate reelection during a chaotic time. Their rivalry emerges not as the classic showdown we might expect, but rather as a convoluted back-and-forth filled with absurdity.
As the sheriff and mayor clash, the film leads us toward a climactic showdown crafted in unconventional, absurdist ways. Yet, Aster’s take on a Western feels more like a parody of its predecessors, forsaking the classic tropes for a maze of plot twists and exaggerated violence. Aster’s characters are intentionally difficult to empathize with, complicating the viewer’s connection to the narrative.
A Mixed Bag of Cultural Commentary
In a wild tapestry of political commentary, Aster attempts to touch on contemporary issues, from gun control and media hysteria to Black Lives Matter protests. However, rather than weaving these threads into a cohesive statement, the film collapses under its own weight—resulting in a muddled narrative where incisive satire gives way to chaotic farce.
The film’s pacing falters as it transitions from an engaging portrait of a divided America to a collection of distracted gags, missing the introspective punch that “Beau is Afraid” managed to deliver. Supporting characters, like Emma Stone’s frustrated wife and Austin Butler’s cult leader, briefly shine amidst the chaos, but their moments are few and far between, often eclipsed by the film’s overreaching narrative intents.
The Frustration of Excess
As “Eddington” unfolds, the audience is likely to feel a sense of deja vu. If Aster’s goal was to evoke the turbulence of 2020, that resonance falters when placed against the sheer volume of existing works that have tackled similar themes. His film emerges not as a thought-provoking exploration but rather as an overstuffed reframing of familiar fears and absurdities.
Aster’s message—that America feels more like a farce than a coherent society—is evident, yet he fails to provide a meaningful exploration of this sentiment. The passion he exudes in interviews doesn’t quite translate to the screen; instead, it dissolves into excess, leaving viewers craving insight over spectacle.
Final Thoughts: A Disappointing Dismount
In summary, “Eddington” attempts to blend satire with absurdity, yet it ultimately struggles under the weight of its own ambitions. The film’s lack of cohesive narrative and depth results in a viewing experience that is frustrating at best and dull at worst.
Grade: D
Despite Ari Aster’s reputation as a cinematic provocateur, this film feels like a misfire—an ambitious project that falters before the finish line.
