Ari Aster's New Nightmare: Reliving May 2020

A Unique Perspective on a Pandemic-Era Narrative

Eddington presents an unusual depiction of a character visibly suffering from the effects of the COVID-19 virus, which is something rarely seen in mainstream cinema, especially for a film opening across thousands of screens nationwide. The protagonist, Joe Cross (Joaquin Phoenix), the sheriff of Eddington, New Mexico, exhibits symptoms such as persistent coughing, fever, and shortness of breath. Although he hasn't been officially diagnosed, his actions throughout the film suggest that he may be positive. We see him take a swab test at a drive-through location, but later ignores messages about his results, leading to a growing sense of dread about the potential spread of the disease.

While the movie takes place during the pre-vaccine, semi-lockdown summer of 2020, it is not strictly a pandemic-era horror film. Instead, it blends elements of a contemporary western with a brain-fog noir, and possibly even a satirical comedy. Writer-director Ari Aster, known for films like Hereditary and Midsommar, brings his unique style to this new project, creating a narrative that feels both familiar and unsettling.

Before Joe contracts the virus, Phoenix portrays a character who resists mask-wearing due to personal principles. His discomfort with public health measures is evident, even though he has asthma and never mentions it. This resistance is somewhat less convincing when depicted through scenes involving law enforcement demanding masks, which feel exaggerated or unrealistic. The film also explores how social media impacts Joe’s wife, Louise (Emma Stone), and her mother, Dawn (Deirdre O'Connell), as they become entangled in various conspiracy theories.

Joe's isolation allows him to run for mayor, challenging the more progressive incumbent, Ted Garcia (Pedro Pascal). Meanwhile, local teenagers, including Ted's son, engage in discussions about lockdowns and bring Black Lives Matter protests to Eddington. The film initially seems poised to deliver a multi-layered satire similar to early Alexander Payne works, featuring a complex ensemble of characters with mixed motivations.

However, Aster's approach to satire often leans into boldness that can border on bluntness. As the film progresses, its scope and violence increase, while many supporting characters fade into the background. The narrative becomes increasingly inscrutable, focusing heavily on Joe and his struggles, making the story feel lopsided.

A Film That Challenges Expectations

Eddington, despite its boldness, aligns with previous attempts at "COVID Cinema," a subgenre that emerged during the pandemic. These films aimed to capture the emotional turmoil of the time, sometimes offering a glimpse of glamorous movie stars navigating the crisis. While some films like The Old Guard and Locked Down were met with mixed reactions, others, like Kimi, offered a more effective portrayal of the anxiety and isolation experienced during the pandemic.

Eddington, set five years after the events it depicts, does not aim for the same psychological intensity as Hitchcockian thrillers. Instead, it offers a dark humor that resonates with the clumsy navigation of social norms during the pandemic. The film avoids using peak COVID to entertain during peak COVID, which is a refreshing approach. However, it sometimes feels as if Aster is not trying to entertain at all, leaving certain characters underdeveloped and plotlines unresolved.

The film's best moments are its punchiest, featuring quick gags and sustained scenes that highlight the flailing efforts of younger characters to make their voices heard. The Western elements of the film, particularly the clash between the sheriff and the mayor, become increasingly obtuse, making the final climax almost unrecognizable.

At times, Eddington feels like an American counterpart to Radu Jude's Bad Luck Banging or Loony Porn. While Jude's film delves deeply into social ills, Aster's approach is more deadpan, avoiding outright experimentation but still feeling unprepared to craft a meaningful narrative about the summer of 2020. Despite this, the film demonstrates a willingness to charge headlong into provocation and continue exploring it relentlessly.

Ultimately, Eddington might be considered America's first work of Long COVID Cinema, diving into the brain-foggy headspace of its characters and refusing to leave when it seems most prudent. It challenges expectations and offers a unique perspective on the pandemic's impact on society and individual lives.