After tackling supernatural and psychological horror with Hereditary, Midsommar and Beau is Afraid, writer/director Ari Aster pivots with his fourth feature film, Eddington, channeling the Coen Brothers via a modern western satirizing the societal madness of the COVID-19 pandemic. It’s noteworthy that we haven’t had more ambition from filmmakers to tell stories about this recent history, which rewired the brains of American citizens culturally and politically, for better and worse (mostly worse).
And to his credit, Aster authentically represents the public discourse and sentiment we all lived through in funny, disturbing, and entertaining ways. The film pulls no punches in criticizing (or at least making fun of) all absurdity across the political, cultural, and ideological spectrums. But in approaching such audience-lived subject matter with his trademark twist of abstract surrealism, the film’s core reason for being becomes muddled and therefore there’s a palpable feeling of dissatisfaction in the end.
Now, ambiguity is fine with me; encouraged even. I don’t need to be spoon-fed a message or argument. And that’s the point. Aster is throwing at the audience the same all-consuming disorienting chaos, morally and ethically, that we all experienced. And we still don’t have answers. We’re still trying to figure it out. But from a film standpoint, when the dust settles, I’m struggling to comprehend the the real artistic value he’s offering.
Filmmaking craft-wise, Eddington really soars. It’s visually striking, per usual. In one scene Joaquin Phoenix’s face is solely illuminated by a spinning red cop siren; a highly engaging shot among many others. Fantastic shot direction and cinematography throughout. The score effectively complements the unsettling nature of the story. The performances are good across the board. Which I should expect from a supporting cast featuring Emma Stone, Pedro Pascal, and Austin Butler. Though, no one really blew me away. Phoenix’s lead performance as the radicalized small town Sheriff is compelling, and definitely makes up for his stinker portrayal of Napoleon.
There’s a lot of issues addressed here. From racial justice, police brutality, government distrust, conspiracy theories, cults, sexual assault, to social media brainrot. All of which are ripe to be blown up to humorously exaggerated proportions. And perhaps that’s Aster’s intent: putting up a funhouse mirror to society to showcase how these forces have collectively distorted realities that can drive human behavior to the darkest depths.
I admire Aster for taking on this subject matter head on and experimenting with new genres and tones. The film is really funny with shocking violence. But I wish the end result provoked more thoughts than it does shrugs.
