"Eddington" Unveiled: The Enigma That Is Ari Aster

The indie film wonder-child Ari Aster never seems to catch a break, does he? If the nerve-shattering suspense of “Eddington”, now lighting up the silver screen, is any reminder of that, then we know every day is thrill-a-minute for him. You might remember the New York Times profile that had him almost walking out in front of traffic rather than face the firing line of publicity questions.

But hey, it’s not all gloom and doom for this genius. His inner turmoil has led to some classic indie masterpieces like “Hereditary,” “Midsommar,” and “Beau Is Afraid.” And don't we just love him for it?

During a recent virtual chinwag with Variety, Ari Aster candidly shared the simple pleasures that bring him solace: reading, watching movies, and well, making movies! He also confessed some mild sins, which included over-ordering junk food on Uber Eats and enjoying the occasional low-brow comedy. Meditating is in his stress-fighting arsenal too. Unfortunately for the Real Housewives fans, Aster isn't an avid watcher, as hinted by the Times. While he does have his little getaways from the "big ol' worry prison" of his head, can we perhaps all take a moment to appreciate his imagination's commitment to giving us "Eddington"?

"Eddington", a riveting selection at Cannes, follows struggling hero, Joaquin Phoenix, who stars as New Mexico lawman Joe Cross. His life implodes amidst scandal and violence on a pitifully perfect timeline with the world being brought to its knees by the Covid pandemic. The film received mixed reviews, some seeing it as an incendiary device intended to ignite conspiracy theorists and liberal outrage, thereby foreboding a second Trump term. Variety's Owen Gleiberman praised the film while questioning whether Aster transformed into a 'right-wing hipster auteur', gleefully tossing around liberal-challenging points.

Regardless of political innuendos, Aster infuses his trademark style of concluding with a dose of cutting despair. No more spoilers – the nail-biting, violent resolution of mayoral madness sees Joe Cross's world crumble further. Brutal confrontations, cinematic chaos that seems straight out of a Grand Theft Auto game, and a cliffhanger finale that leaves Cross tragically incapacitated. Joaquin Phoenix's full-frontal bravery during one scene prompted Aster's cheeky remark: "If you got it, you might as well [flaunt it]."

Not just affecting, it's downright agonizing, the way Cross's journey unfolds in a montage of uncomfortable care-taking scenes with a spotlight on his power-glory dampened by his reduced physical ability. The film's end views reveal a data center adjacent to the humble town and the bitter irony just kills us, doesn't it?

Aster confided, “What this film aims to expose is my bone-deep fear towards one side of this ideological duel and my disgust with the other’s inability to recognize and respond to this fear.” He emphasized that the film reflects the boring, ugly reality of people caught in the same predicament, manipulated by the same powerful forces. The director’s master stroke? Leaving the audience reflecting on who or what was the real villain in the story.