Eddington (2025)

​“Eddington” stars Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O’Connell, Michael Ward, Amélie Hoeferle, Clifton Collins Jr., William Belleau, Austin Butler, and Emma Stone.  Released on July 18, 2025, the film chronicles the mayoral election during the COVID-19 pandemic.

The film was written and directed by Ari Aster, who also directed “The Strange Thing About the Johnsons”, “Hereditary”, “Midsommar”, and “Beau Is Afraid”.  The year 2020 ushered in a new decade, filled with unexpected trends and events that will linger in people's memories for generations to come.  Among these, one event certainly took us all by surprise, arriving just as we were settling into the new era.  In addition to the new decade, 2020 also introduced us to a new virus known as “COVID-19”, which originated in China and quickly spread to the United States.  Consequently, many of us found ourselves confined to our homes for several years, avoiding physical contact with almost everyone.  Let’s just say that none of us are the same after the lockdown lifted, not even the people from a fictional small town in New Mexico.  Although that particular crisis is now behind us, that hasn’t stopped Hollywood from reminding us of the stress and turmoil we endured during those challenging times.  This is exemplified in the latest film by filmmaker Ari Aster, who gained recognition for his elevated horror feature debut, “Hereditary”.  The film also has Aster shifting from genuine horror to satirical black comedy that reflects on the pandemic’s early days.  Does it offer a worthwhile and darkly humorous perspective on the pandemic, or does it highlight that this sensitive topic is no laughing matter in the worst way?  Let’s find out. 

The story takes place in the fictional town of Eddington, New Mexico, during May 2020.  The town is in lockdown due to the COVID-19 pandemic, enforced by its mayor, Ted Garcia (Pascal), who is campaigning for re-election.  However, the town’s local sheriff, Joe Cross (Phoenix), opposes Garcia’s regulations, including the mask mandates, believing they are robbing people of their freedom of choice.  To combat Garcia’s authority, Joe decides to run for mayor, recruiting his fellow officers, Guy (Grimes) and Michael (Ward), to assist with his campaign.  As the rivalry intensifies between the two candidates, the pandemic-driven campaign risks igniting political and social unrest, plunging the town into a state of paranoia and chaos. 

Initially, I intended to watch the new “Smurfs” movie after seeing the new “I Know What You Did Last Summer”.  However, upon discovering that “Eddington” was also playing at my theater, I opted to see that instead, saving the film involving blue magical creatures for later.  Considering my experience with the newest “Last Summer” installment, I felt it was wise to be cautious with my movie selections this week.  The first trailer for “Eddington” already piqued my interest, especially with its solid cast and the involvement of director Ari Aster, who has recently garnered mixed reviews for his latest project.  I’ve only identified Aster as another admirable, if not divisive, filmmaker in the horror genre, thanks to “Hereditary” and “Midsommar”.  That is, until he decided to expand his horizons with the black comedy genre, starting with “Beau Is Afraid”.  Sadly, I hadn’t gotten around to watching that given its bizarre concept and lengthy runtime.  One day, I’ll find the courage and time to do so.  Therefore, “Eddington” marked my first experience with Aster’s direction outside the realm of elevated horror.

Considering the film’s focus on the COVID-19 pandemic, it’s understandable why there was some hesitation around “Eddington”.  Numerous films addressing the pandemic were released during the actual crisis, and as far as I can tell, audiences were just about ready to move past that difficult chapter.  Of course, it’s not just because of their release timing.  With this film being released five years after the pandemic, we’re pretty much in a comfortable position to reflect on and even poke fun at what we’ve experienced during our confinement.  Nonetheless, the film has sparked mixed reviews since its premiere at Cannes, particularly concerning its tone.  From my perspective, I can understand where the reviews are coming from, yet they also highlight Ari Aster’s willingness to take creative risks.  While some of these risks may not resonate as strongly, those that do contribute to the film’s sharp and daring exploration of the paranoias associated with the pandemic, whether political or otherwise.

Reflecting on my experience with Ari Aster’s first two feature films, I have been impressed by his ability to think outside the box.  They stood out not only for their bleak approach to the traditional horror genre but also for their willingness to embrace an unsettling tone and strikingly dark graphic imagery.  Sure, many other directors can also create an atmosphere of unease, but the way Aster conveyed the psychological horrors of the human condition had a much greater impact compared to other horror movies.  “Hereditary” proved this theory by combining its supernatural elements with a family drama, creating a haunting narrative filled with dread and discomfort.  While I didn’t like “Midsommar” as much as I wanted to, I still admired its ambitious craft and deeply unnerving settings, even if they’re not as effective as “Hereditary”.  Despite “Eddington” having a different genre outside those two films, Aster’s signature vision remains intact.  The film retained the raw tension and visual disturbance that characterized his previous works, effectively highlighting the discomforting horrors that arise from the complexities of the human condition in a changing world.  Through his compelling approach to its human drama and uncomfortable topics, “Eddington” was another instance of Aster challenging his audiences to confront the darker aspects of humanity.

Regarding the film’s screenplay, “Eddington” takes a narrative approach that is likely to divide audiences.  While the plot initially appears to center around a mayoral election between a sheriff and the mayor during the COVID-19 pandemic, it delves deeper into the varied perceptions toward the pandemic and the subsequent paranoia.  The town’s mayor, Ted, believes in his duty to safeguard the community through a lawful lockdown, whereas Joe Cross champions personal freedom, especially for those with health conditions, opposing governmental authority.  The movie also touches on the Black Lives Matter protests, social media conspiracies, and Joe’s deteriorating life caused by his decision to run against Ted.  In short, it somehow bore some resemblance to our experiences with the pandemic.  Rather than resorting to familiar tropes, Aster’s script offered an authentic and raw commentary on the pandemic, political theories, and their impact on the town’s people.  Although some narrative elements fell short of delivering the intended emotional impact, the screenplay delivered a clever, satirical, and predominantly grim portrayal of the era’s turbulence, carefully navigating sensitive topics without overdoing them.

I also want to mention the film’s tone, which has been the focal point of critique since its debut at Cannes.  From an audience perspective, “Eddington” had been characterized as a Western satirical black comedy, exploring the paranoia that gripped people during the COVID lockdown.  This could mean it’s poking fun at some of its sensitive topics in a disturbing yet fun manner, right?  Well, I’m here to tell you that this movie is no laughing matter.  While there were indeed moments of levity, primarily revolving around the ensemble cast, the film leaned more towards a psychological satire drama, delving into Joe’s dissociative decline that began with his campaign against Ted.  Fortunately, I didn’t see an issue with that.  This approach, skillfully executed under Ari Aster’s direction and Lucian Johnston’s editing, was complemented by Darius Khondji’s strikingly gorgeous cinematography, which together offered a compelling and visually rich exploration of the political and social challenges experienced during the pandemic.  If audiences are looking for ways to laugh at what we had become during that event, I’m not sure “Eddington” would be the right fit for them.  The film does not aim to trivialize these experiences but rather to provide a thoughtful examination of the era’s complexities.  Aster’s narrative strategy, while not overtly comedic, succeeded in highlighting the subtle tensions and uneasiness that emerged during that unprecedented time.  

A significant aspect of “Eddington” was its ambitious storyline, which seemingly weaved multiple narratives into its pandemic backdrop.  You have the mayoral election in one part, the Black Lives Matter movement in another, and a cover-up murder thriller, all in one package.  This multifaceted approach diluted the film’s initial tone, particularly in the third act, where it transitioned into a more conventional action thriller.  However, I will give Aster this: he crafted a tense and well-directed finale that demonstrates his capability to direct an action film in the future.  It might not happen, but it would be cool if he did.  The movie also suffered a bit from its lengthy runtime of two and a half hours.  While Lucian Johnston’s editing ensures effective pacing and transitions, the extended duration may be too much for some moviegoers, especially given the film’s subject matter.  For a narrative set in a fictional town grappling with pandemic-induced turmoil, sustaining audience engagement over such a period can prove to be demanding.  Fortunately, it’s never to the point where I find myself completely bored with the events occurring during the pandemic.

In addition to Aster’s ambitious vision, “Eddington” was also complemented brilliantly by its cast, which significantly contributed to my interest in the film.  Suffice to say, they delivered performances that met my expectations, with Joaquin Phoenix leading the way.  This film marks the second collaboration between Phoenix and Aster following their work on “Beau Is Afraid”.  It is easy to understand why Aster continued to work with Phoenix, as his ability to portray complex, unconventional, and dark characters authentically is unparalleled.  His award-winning role as Arthur Fleck in “Joker” rekindled my admiration for his talent, and “Eddington” further showcased his capabilities with ease.  Phoenix masterfully embodied Joe Cross, whose downward spiral into dissociation is driven by his impossible quest to fight for people’s “freedom”.  His portrayal adds depth and nuance to his character’s subtle yet unsettling persona, resulting in yet another remarkable performance that solidified his standing as an Oscar-winning actor.  Pedro Pascal also delivered another compelling performance as Ted Garcia, continuing the actor’s successful summer in the film business.  Regardless of how you feel about his overexposed presence this summer, we can never have too much Pedro Pascal in our lives.  Michael Ward also did a commendable job with his role as Michael, a trainee in Joe’s force.  Ward’s performance added another layer to the film, notably for the character’s role in the Black Lives Matter aspect and the third act.  Emma Stone was also pretty good as Louise, Joe’s emotionally unstable wife, with enough nuance in her talent to elevate her supporting role.

Overall, “Eddington” is a clever yet often discomforting reflection on pandemic-related paranoia, complemented mostly by Ari Aster’s perspective on the topic.  Although the film is identified as a black comedy, its moments of humor are quite sparse.  However, when I reconsider it as a psychological drama set during the COVID-19 pandemic, I find it to be a skillfully crafted and tense examination that took a few effective, bold swings in its narrative.  Despite its uneven tone and lengthy runtime, “Eddington” stands out as an ambitious thematic achievement in pandemic storytelling, enhanced by its compelling cast, Ari Aster’s subtly haunting direction, and a solid screenplay.  While it may not reach the cinematic heights of Aster’s feature debut, “Hereditary”, it does showcase his confidence as a filmmaker venturing beyond the horror genre.  If you enjoyed the director’s previous works, this is worth checking out.

B-