Eddington

Describing Eddington as a neo-western might be the most fitting way to summarise Ari Aster's 2025 dark comedy-drama-though even that hardly scratches the surface.

That said, I felt I needed a full ten minutes of silence after the credits rolled, just to process what I'd witnessed.

It's an Ari Aster film, after all, so if you're familiar with his work, you'll know to expect a whirlwind of emotional and thematic disarray. But Eddington isn't just messy-it's exquisite, unfiltered chaos.

If you've seen the trailer, don't be misled. It barely teases the disorienting spiral that unfolds. The story kicks off in May 2020, amidst the height of the COVID-19 pandemic.

What begins as a snapshot of public hysteria-conspiracy theories, anti-vaxxers, and the fear-soaked atmosphere-rapidly morphs into something darker and more disturbingly real.

We've spent the past five years collectively unmoored-adrift in chaos, where appearances deceive and identities dissolve. It sometimes feels like a failed social mutation-one born from freedom pushed to its breaking point-an evolutionary misstep we fought to achieve, only to have it turn against us.

Let's be clear: freedom is a vital human right. But when it becomes indistinguishable from anarchic self-destruction, something has clearly gone awry.

At its core, Eddington follows a standoff between small-town sheriff Joe Cross (Joaquin Phoenix) and Mayor Ted Garcia (Pedro Pascal), set in the fictional town of Eddington, New Mexico.

Their clash is both personal and political-complicated by Garcia's fraught history with Cross's wife, Louise (Emma Stone), and mother-in-law, Dawn (Deirdre O'Connell).

Aster revisits his obsession with overbearing maternal figures, folding that tension seamlessly into the wider conflict as the two men find themselves on opposing sides of the mask debate.

The film is deliberately provocative, often hollow by design, and it's a difficult piece to review. You'll laugh, you'll wince, you'll question what you're watching-and you certainly won't find it comforting.

Aster touches on themes like racial division, though arguably without much new to say. The Black Lives Matter movement is clearly present in the film's DNA, but its representation feels muddled-more gestured at than fully explored.

Before it can fully engage with those ideas, the film veers off into another subplot filled with irrationality, violence, and distraction-perhaps intentionally mirroring how public attention shifted in real time.

What he does capture is the paranoia, anxiety, and social fragmentation that exploded when lockdowns began and the world collectively panicked. He blends it into a fever dream of confusion and satire, offering no answers-just raw sensation.

Much of the chaos is filtered through the lens of social media, which becomes the film's true stage. It's where the news is curated, where lies take root, and where misinformation thrives.

To emphasize this aspect, the film extensively employs the screenlife technique, blending traditional storytelling with found-footage and mockumentary styles. And let me tell you, it works remarkably well, enhancing the overall sense of realism.

Paranoia spreads like wildfire, jokes mutate into threats, and morality dissolves into a game of psychological warfare, disinformation, and mass manipulation.

Unsurprisingly, Eddington has sharply divided critics-and will likely do the same with audiences. Expect fiery debates. Some will praise its fearless ambition; others will dismiss it as bloated, incoherent, or pretentious. And honestly, that may be exactly what Aster intended.

As always, his visual storytelling is exceptional. Darius Khondji's cinematography (Uncut Gems, The Immigrant) balances the film's absurdity and dread with a sharp, immersive eye. Lucian Johnston's editing keeps the pacing surprisingly taut, especially for a film that thrives on disorientation.

Aster's visual language for violence remains as potent as ever. When revenge time comes, it hits with darkly funny moments-especially during 'The Antifa Massacre,' which delivers shocking laughs and gory satisfaction in true Ari Aster fashion.

But after all that-did I like it?

There's brilliance in Eddington-but perhaps brilliance trapped in a maze of its own ambition, leaving something essential just out of reach.

The ride remains undeniably compelling. Ari Aster remains one of the most fascinating directors working today.

But, as with Beau Is Afraid, he tests the limits of narrative and patience. There's brilliance in Eddington, but there's also a sense of something missing-maybe too much of everything, all at once.

This isn't a comfort film to watch. It won't leave you with a clear head. In fact, you'll probably leave the cinema clutching your skull, trying to piece together the fragments.

My advice? Watch it with a good friend-or a few-who appreciate psychologically demanding cinema.

Because once the screen fades to black, the real film begins-in your head, and in the conversations that follow.

I can only tell this is gonna be a very polarising film, people are going to love the ambition from Aster or call it a convoluted mess.

Depending on your views during the 2020s will severely determined your outlook on this film. Are you able to laugh at the insanity or remain serious at the severity of events that transpired.

Eddington is ultimately a satire on the comedic ridiculousness and tumultuous times of the 2020's. Eddington in itself is the main character. It's a macrocosom of events that impacted the US but obviously ramps them up to 11.

I appreciate the craft and the film was at its best when it was reminiscent of the Coen's No Country For Old Men. The 2nd act elevated the implemented satire to a contemporary western crime thriller.

The film is hit or miss in its summary. I understand the message and themes but at some points the execution is lacking. I feel like it tried to juggle a lot of themes and messages. Maybe sticking to one or two would have made the film more tight and succinct.

Not a biopic of the late English actor Paul Eddington (although I think this would be more exciting and taken less time to tell!).

Ari Aster offers a laborious, talky and self important dark comedy /drama that has moments of funny comedy - the over the top hysteria of lockdowns and the breakdown of society that it can bring is a perfect springboard to set up a piece of work in any form.

Joaquin Phoenix continues to dazzle in his brave choices of roles and like Aster's previous film Beau Is Afraid is not afraid to add a pitiful depth, physical comedy and a vulnerability that marks him out in his generation of actors.

Emma Stone is given nothing to do.

Aster adds claustrophobia, breakdown in human behaviour (the excessive use of mobile phones documenting events ),is used in nightmarish qualities.

The pitfalls of conspiracy theories and the lonely (mainly American) victims is shown in all its rabid ,verbose hysteria.

At 149mins it's way too long for such a slim story,90mins would be better. I was bored after 45mins ,the story only kicks in in the last third after then most of the audience has checked out.

I give Aster plaudits in making original,thought provoking films that certainly test the audiences (if not patience).

He needs a judicious editor,and a word count dictator on his computer when writing the script.

Eddington is not a place worth visiting.

In 2019, Ari Aster struck many film fans as the new face of horror and quickly attached him to the genre. In 2025, Ari Aster has departed from that stereotype and is now seen (at least in my opinion) as a director who makes very polarizing and ambitious films that he wants to make. I gotta respect the guy for going out and doing that. Eddington, much like his 2023 film "Beau is Afraid" is that kind of film. It's ridiculously ambitious, busy, and absolutely bonkers. It's something that I feel only Aster could make. I'll agree with the critics when they say Aster covers a lot of subjects but doesn't really commit to most of them. He seems to kind of get lost in the moment of trying to satirize and summarize too many subjects of the COVID pandemic to the point of exhaustion. It's not his most successful film and it's certainly not going to please everyone, but I greatly admire the drive he put into it.

Eddington feels like being locked in a room with your own thoughts...while those thoughts are armed and slightly unhinged. The pacing is tight, the plot twists keep you leaning forward, and just when your anxiety peaks, it throws in a gut-punch of humor that somehow makes it all feel human again.

It's a rare film that can make you laugh and feel like you need to sit quietly in a dark room afterward just to process what you watched. This is that film. Smart, offbeat, unsettling, and genuinely entertaining. Eddington doesn't just keep you intrigued, it lingers long after the credits roll.