Ari Aster’s upcoming film, ‘Eddington,’ is positioned to spark crucial conversations about modern American life, delving into themes of social and political division.
Set against the backdrop of a fictional New Mexico town, the narrative explores the impacts of the internet on human connection and community.
With a data center being constructed outside Eddington, the residents grapple with detachment fueled by smartphones, social media, and the aura emanating from the facility.
Aster reflects, “We’re living in such a weird time and we forget how weird it is. Things have been weird ever since we were able to carry the internet on our person.”
In this context, Aster’s work could resonate as a much-needed diagnosis of current societal issues.
Scheduled for a theatrical release by A24 this Friday, ‘Eddington’ emerges as one of the first major films to confront the pervasive social and political rifts evident in contemporary America.
The film features a clash between Joaquin Phoenix’s portrayal of a befuddled right-wing sheriff and Pedro Pascal’s portrayal of a condescending liberal mayor.
Discussions surrounding topics such as mask mandates, the Black Lives Matter movement, and election controversies escalate into a bizarre and absurd narrative.
Aster emphasizes the importance of addressing these pressing issues, stating, “To not be talking about it is insane.”
In a candid look at the present climate, he continues, “I’m desperate for work that’s wrestling with this moment because I don’t know where we are. I’ve never been here before.”
The reception of ‘Eddington’ has been predictably polarizing, as was anticipated by Aster.
Since its premiere at the Cannes Film Festival, critics have provided a mixed response, with some suggesting that the film leans too heavily into satirical jabs at the left.
The New Yorker’s Justin Chang pointed out, “Despite a pose of satirical neutrality, he mainly seems to want to score points off mask-wearers, young progressives, anti-racists and other targets beloved of reactionaries.”
Conversely, The New York Times’ Manohla Dargis remarked, “Aster knows how to grab your attention, but if he thinks he’s saying something about America, the joke is on him.”
Acknowledging these criticisms, Aster argues against the perception that he favors one side over the other.
“I heard one person say it was harder on the left than the right, and I think that’s pretty disingenuous,” he asserts.
He elaborates, noting that one side is portrayed as irritating and hypocritical while the other side is depicted as harmful.
In this light, Aster’s satire, he claims, serves as a perspective for self-reflection, necessary for navigating today’s tumultuous landscape.
The inception of ‘Eddington’ traces back to June 2020, a formative time during the global pandemic and widespread social upheaval.
Drawing inspiration from his own life experiences, particularly after relocating to New Mexico at the age of 10, Aster aimed to encapsulate the growing sense of disconnection that prevailed at that time.
He reimagined the classic Western genre, replacing firearms with smartphones, while still incorporating elements of traditional gunplay.
Aster describes his ongoing feelings of dread since those early pandemic days, stating that he has been living with that emotional intensity ever since.
His goal was to confront this prevailing anxiety creatively.
Unlike many Hollywood studios, which often shy away from politically charged narratives, A24’s support for Aster’s vision has allowed ‘Eddington’ the freedom to take these risks.
This partnership follows the modest box office performance of A24’s ‘Beau Is Afraid’ earlier this year, signaling the studio’s willingness to engage with contentious themes.
Both Joaquin Phoenix and Pedro Pascal, who collaborated with Aster on ‘Beau Is Afraid,’ found compelling elements in the screenplay.
Pascal mentioned the trepidation surrounding participation in a project that tackles urgent social issues, while Phoenix expressed a desire for clarity and empathy surrounding the pandemic experience through Aster’s lens.
Reflecting on societal interactions during the pandemic, Phoenix remarked, “We were all terrified and we didn’t fully understand it. Instead of reaching out to each other in those moments, we kind of became antagonistic toward each other… that’s not going to be helpful.”
As the political landscape shifts once again, Aster acknowledges the changes caused by the second administration of President Donald Trump, admitting that these developments would have influenced ‘Eddington’ significantly.
If he were to develop the project now, Aster admits it could have been more outrageous and infused with greater anger about the current political discourse.
He describes the film as already expressing frustration but concludes that our shared reality is troublingly obscene, exceeding anything he has encountered before.
‘Eddington’ invites passionate debates; its narrative arc shifts dramatically, and viewers may react sharply to the contrast between its initial observations and later spirals into absurdity.
Aster recognizes the struggle to provide coherence amid chaotic interpretations of reality that permeate contemporary life.
Despite varied reactions, the necessity for films like ‘Eddington’ persists.
Aster resoundingly asserts the importance of engaging with our present reality, stating, “What would an olive branch look like? How do we find a way to reengage with each other?”
Through his work, Aster taps into the collective heartache while challenging the audience to reflect on the current state of disconnect and division.
‘Eddington’ promises not just to entertain but to provoke thought, making it a significant entry into cinema’s exploration of modern U.S. complexities.
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