Credit to writer/director Ari Aster for at least not trying to make things simple. That’s not to say Eddington is too complex for its own good, but so far the director has done what he can to make interesting films rooted in horror, but separated by different sub-genres. However, whether we’re talking demon worship (Hereditary), folk horror (Midsommar), or surrealist existential terror (Beau Is Afraid), his films are rooted in dark comedy and focused on characters doomed from the start. Aster comes off as a nice enough fellow who is happy to have informative conversations about his work (even while avoiding the dive into definitive answers, a natural move for any filmmaker), so it’s certainly curious to see so much darkness come from this man. Of course, much of that could extend to what he sees in the world and finding how terror can emerge. That would certainly explain some of Eddington, a darkly comedic modern western that still manages to push hard on its connections to today, let alone reactions to the initial period based around the COVID-19 pandemic. Regardless, while topical in a way that is sure to push certain emotions in an audience that even wants to engage with this material to begin with, Joaquin Phoenix once again shows just how far he can take his abilities, even when he’s forced to challenge his own image.
The film is set in May 2020 in the town of Eddington, New Mexico, which also borders on land governed by indigenous people. Phoenix is Sheriff Joe Cross, a gruff, everyday sort of guy who tends to avoid wearing a mask, and is not at all serious about the potential damage of the actual pandemic compared to whatever mediocre infringements he can use to get involved with those he deems lesser than himself. This can all seem rather typical as far as what a white authority figure can manage to get away with, and still have enough of his own charisma to invite others to go along with him.
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Meanwhile, Pedro Pascal’s Mayor Ted Garcia is running for reelection and often finds himself at odds with the Sheriff. There’s a specific reason that involves something that may or may not have happened in the past between Ted and Joe’s current wife, Louise (Emma Stone). Whatever the case, while Ted is doing what he can to speak to the goodwill of the people, Joe often finds himself stumbling into arguments with others, and eventually decides to run for office himself.
The initial understanding that Aster was going to focus on a story surrounding the pandemic wasn’t necessarily disconcerting for me, as I trust the filmmaker. Still, it left me hoping that some angle would be explored that didn’t just involve finding a way to empathize with someone who holds opposing beliefs, thereby spreading a tired message about humanity’s flaws. I get enough of that from the flawed superhero movies attempting the same, and at least those are driven by other ideas, both commercial and not, but can satisfy in more visceral ways. To be fair, Eddington eventually finds itself handling things through violent measures as well, but I’ll get to that in a bit.
Really, while this film functions as a neo-western and lets two great actors spar over their interpretation of the world at large, it has the extra bit of weird flavoring that Aster knows how to apply to his films. It also has a few game-changer moments that allow the film to explore other areas, ratcheting up the tension in the process. I can’t speak to all the specific references at play here, but one would be hard-pressed not to see the influence of the Coen brothers all over this film, particularly in its second half.
In referencing those directors, let alone the shift in tone, and even objective of the film’s characters, one does wonder if this is all a way to gloss over the intentions on Aster’s part when it comes to sharing any form of political take or deeper grasp on America’s response (and continued reaction) to government mandates and interactions with its citizens. That’s a trickier question, but certainly one that will inform every viewer on how much they appreciate what is being laid out in front of them. I can say Aster seems to be leaning on a few thoughts in terms of his regard for how policies have been enacted and the types of people he’s seen with or maybe have had to deal with, but having Eddington play around with ambiguity certainly feels fitting of him and for a movie that can’t possibly solve something simply by way of Phoenix laying out some deep monologue.
At the same time, I don’t think that’s a copout either. This film feels more like an epic trifle of sorts than a means to provide definitive answers. With that regard in mind, one can’t help but appreciate the strong work going into this film on a technical level. For one thing, it’s gorgeous. Darius Khondji was brought on board as cinematographer, and the film finds true beauty in the New Mexico landscape, as well as time for some truly striking moments concerning either violence or the sheer enormity of the situations at play, despite us watching a story about a small town.
Eddington is also quite funny, building off personality types, dialogue delivery, visual gags, and more, the film plays up the comedic tension of various scenes just as much as it works up the thrilling conflicts that inform the far more violent portions of the film. This is all largely made possible by Phoenix, who is excellent in the movie, but that doesn’t sell short Pascal, Stone, or the more minor characters involved (a fantastic Michael Ward has a small but essential part, among others). They are all grounded to a point, but having that layer of humanity means a sort of awkwardness is at play, which escalates the kind of reactions that could be had with the residents of this town.
I haven’t even gotten into some of the bravura moments, like an extended take involving a rotating Steadicam, situations that involve explosives, the prevalence of modern technology, social media, and doomscrolling as a means of telling us more about these characters, and all the stuff featuring Austin Butler’s cult leader character. Yes, Eddington is packed to the gills and will no doubt be divisive, but I had a marvelous time with it. The movie does a lot, to a point, and grapples with things not everyone will be dying to see dealt with, but it also feels uncompromised, big, and sparkling with choices made by a director willing to move all over to get results fitting for his sensibilities, elevated or otherwise.
Eddington opens in theaters on July 18, 2025.
