2020 was a divisive time. At the height of the COVID-19 pandemic, right-wing conspiracies and talking points infiltrated even everyday life. Aster tackles that in the backdrop of a small New Mexican town—a town where those conspiracies can take root and choke out more rational thought. Between mask wars and Black Lives Matter protests, both sides are highlighted here. Some of the initial ire over Eddington may stem from that.

It seems obvious now that they kept the full plot of this film under lock and key for as long as they did. Writer/director Ari Aster is known for his out-of-the-box takes, but Eddington may just be one of his wildest. And the best thing? It works, and it works well. That is, if you understand it.

Joaquin Phoenix, in what may be one of his best roles, stars as Joe Cross, the asthmatic Sheriff of the town of Eddington. While dealing simultaneously with his ill wife Louise (Emma Stone) and her mother Dawn (Deirdre O’Connell). Due to money issues, Dawn has moved in with them, and her days are spent watching Fox News and spouting off various QAnon talking points. As these conspiracies begin to take over his life, they also begin to cause issues between Cross and Mayor Ted Garcia (Pedro Pascal).

This satirical aspect and focus on the major issues of the pandemic, such as masks, is a driving force behind the film. Aster pulls the focus into how prevalent this thinking was back then, and how it infiltrated the lives of everybody, not just the people who believed it. Dawn’s constant stream of conspiracies every morning would be enough to wear down anybody, and Joe isn’t immune.

COVID as a supporting character

Though COVID is a central focus, it isn’t the main focus of the film. Like Aster’s previous work Beau is Afraid, he leverages it to be a driving point for the characters. Most importantly, to highlight the growing rift between Cross and Garcia, who once upon a time dated Louise and who, we can infer, had at least a cordial professional relationship despite their different views.

Garcia is the picture of a liberal mayor doing whatever he can to enforce the COVID-era rules in his town. Cross is the opposite: he rejects Garcia’s mandates, believing COVID-19 to be an overblown issue. After an incident at the local supermarket between them, Cross decides the best way to restore normalcy to Eddington is to run against Garcia for mayor.

There are a few moments in the film worthy of laughs, both for satirical reasons and just because they’re plain funny. Aster has a way of weaving the absurd with the expected, and though he does not seem to tackle anything new with the state of the American government then and now, it’s at least enough.

The thing about Eddington is that it lulls you into a false sense of security. Like Aster’s previous works, you’re led to believe one thing until a gigantic shift in the narrative. For this movie, it punches up the momentum and stakes exponentially. Phoenix shines in the last third of the film, reminding you why Aster chose him again.

Art should make us uncomfortable sometimes

Is it too early to write a film set in this time period with all of the issues that came with it? Some people will say yes. Could it be seen as irresponsible in today’s climate? Perhaps. However, it is a good thing to be reminded of what the world was like then. It also reminds us that corruption is still prevalent in politics–Garcia, for example, wants to allow the creation of an AI data center on the outskirts of town despite his stance as a liberal and progressive mayor.

Eddington does suffer at times with long, drawn-out moments, but even those are palatable. Its somewhat-hefty runtime doesn’t feel as long as it does, even as we head into the explosive third act. Pascal and Phoenix shine in their rivalry, and as Cross rapidly descends into madness we’re swept along with him.

It seems like this may be one of Aster’s most divisive films yet, but it is still early. Regardless, Aster is clearly comfortable in his work and what messages he’s conveying, and that sense of surety bleeds into the film itself. All in all, it is a stark reminder of the digital overstimulation we faced in the early 2020s. Aster proves, once again, why he continues to draw in crowds.

For more Reviews, make sure to check back to That Hashtag Show.

Keep Reading:

‘Superman’ Review – James Gunn Brings Tons Of Hope To A New Era Of DC Films