It is very common today to see ambitious filmmakers turning their films into “phrases” perfectly suitable for ideological boxes in advance. But in the movie “Eddington”, a disgusting strange film, outside the cosmic cosmic box Western excitement, writer Ary Aster (“Beau is Fear” and “Midsommar”) throws the joy of any liberal artistic orthodoxy of the wind.
The film was placed in the city of Desert in Eddington, New Mexico, during the summer of Kovid in 2020, and the first indication that it will offer a large disk of traditional wisdom is that the protagonist, Joaquin Phoenix, which revolves around the only person in the city who refuses to wear the face. It is of asthma, but it also has a rude contempt for COVID statistics about the transmission, and the general idea of the lock. Is his position talking about the movie? It is difficult to determine, because Joe, on the one hand, is the character that we are asked to get to know, but Phoenix plays him as a graceful and benign slander, but it is basically the chaos of walking.
It was not long before the film, the murder of George Floyd, the protests taking place in Minneapolis and other American cities leading to a small local movement in Edenington of young anti -racism. The film is unambiguous about their filming as a package of deluded narcissists who embody their perception of themselves with the very privilege from which they come out. Aster is not just a mockery of them; Its real point is that self -moral pink has become a kind of addiction in America. However, his film is launched by deviant coffeed protocols, only to heat the radical enthusiasm for white -layer white -layer, may make you wonder, for a moment, if Ari Aster turns into some right -wing cherry bombs that throw cherry associated with fox news points.
In fact, it is not very simple. In the movie “Eddington”, ASTER is serious about the theater that is seen as the glass that America has gone through during the era of the epidemic. It targets that moment as the great pieces, the moment when the country lost its collective mind. But in the movie there are many ingredients for this, derived from a wide cultural spectrum. The film shows sympathy for the increasingly prevailing opinion Control That dominated the years of Covid went very far. Eddington, while larger than a small town – is a place in the streets and sprawling buildings – it seems deserted but it is something that gives its strange talisman; He stands in front of a nation that has been lumented, exhausted, stolen from its hope in the future. When a teenage boy is chewed by his father for joining a “gathering” (that is, he met half of his friends in the garden), we feel participating in that.
But Kovid is just the trigger. “Eddington”, although it is not comedy, displays the evil, angry, and perhaps the new crazy that it sees in the Deadpan tone of ears. The film shows us a fully specific vision of this society that has shifted. Aster also displays this, what happened to America is about Covid and all that the rules that are unavoidable for the epidemic. It is related to the rise of new moral tyranny. It comes to how the conspiracy theory, which was the interruption of the liberal left, has become the new Crackpot model in Central America, to the extent that attacking the government for lies and cover -up (such as, as you know, BlanderiHe went from being the rebel position to a kind of authoritarian reflection.
It also relates to the madness of the creeping greatness of weapons culture, and the madness of greatness that gathered around the issue in children (a trend that has already begun with the experiences of using daily care and the missing baby milk in the 1980s, then picked up the contemporary steam with Qanon and Pizzaate). It comes to how social media has become the dark mirrors hall that plows all these toxic forces, to the point that the reality of reality seemed to be the cause buried in everything. It is related to the fateful height of large technology (embodied here by a huge data center proposed by a company called SolidGoldMagikarp), which is an orchestra and beneficiaries of this mirror hall.
This seems a lot for chewing a movie, but “Eddington”, for all its full topics, is an intelligent and more associated entertainment from the last ASTER, The Masochistic Art Art Nightmare “Beau”. The new movie is two and a half hours, and it is eventually turning into a fateful thing there. But for most of them, ASETER is equipped with a story that is arrested strangely, which flows through the topics of the guardianship era.
Everything begins to resist the desperate, cloudy, unjust, unlimited to the borders that were recovered due to his anti -mask position, then making a decision to challenge the mayor of the city, Ted Garcia (Pedro Pascal), with his luxurious supporters and glow. Joe decides to run for the position of the mayor himself, but these two men have enmity dating back to a buried personal scandal: twenty years ago, Garcia grew with Louise (Emma Stone) when she was sixteen years old and carried her. She had a miscarriage and continued to marry Joe. The atmosphere is still together, and they live in a house isolated on a small Missa (next to my mother Louise, which is played by Derdari Ocunil; she moved during Kovid). But Louise has a history of mental illness, and Emma Stone was played as a picture of weak weakness.
Marriage is suspended by a thread, and the thread is cut when Austin Bater, who behaves softly Johnny Depp, appears as Vernon, which is part of what appears to be a worship dedicated to victims of sexual assault on children. Vernon sits in the cross kitchen and tells his story, a piece of recovered memory that replaces his other memories, and it is so far away that we believe: Is it about saving people or planting them with new identities? More than that: Is this what has become “salvation” in America? Louise, in thral to the therapeutic snake oil in Vernon, soon gave up an atmosphere, and this leaves him destroyed.
Astir goes out to capture how the reality of the reality that has become the world is not just a political/media phenomenon; Its claws reach the heart of intimate relationships. We see the same kind of social exhaustion that turned into emotion when the Black Lives Matter Eddington. The film never doubts the validity of the protests that rose against the killing of George Floyd. But it makes fun of the performance aspects of a specific brand of extremism of the middle class, and the way these different individuals in society, such as Sarah Hoeferle, which becomes so true that it begins to look like a member of the underground weather; Brian (Cameron Man), a local child who only begins to want to flirt with Sarah, then finds his identity subject to an extended mutation (with real return at the end); Michael (Michel Ward), the black policeman who works for Joe and cannot be more than a straight share, but he concludes a victim of a group of terrorist extremists who “to save him”.
There is no doubt that in “Eddington” Art Art, he makes himself provocative, in the same way Todd Field in “Tár” when the confrontation was organized in Juilliary between Cate Blancitt’s Lydia and Bipoc student who asked about her loyalty to male -male Malays. However, as much as it goes towards the accurate “Eddington” point of view to be the subject of many incendiary discussions, and I claim that this is not a state of becoming an ASTER to become some of the adopted young version of the A24 of David Mamet. What he picks up in “Eddington” is an entire society – the left, the right and the center – that goes out of control, as it revolves away from any feeling of collective values.
The film revolves around the center that does not carry it, and you feel that this is broken through everything that is accompanied by the strange and sad performance of Phoenix. It is not completely with his greatness, but he is not one of his full boat as well. There is a bitter insult to an atmosphere, which is on his head with mousse hair. When he finally takes matters in his hands, you roast him even as he does something that cannot be defended. For a while, the film becomes a great movie, a movie that plays the role of Joe’s investigation team in the efforts of the local Boeplo officer (William Belleau), which we doubt be the version of our hero from the Inspector Javert.
But only when you think you got “Eddington”, installed as a coherent and even traditional story, the film comes out of your underground and terrain from strange things. Do not be lost in the dark dilemma of his own perceptions, and the way you did “beau afraid”. But it grows a little … abstract. There is a tolerant side to the ARI ARI, and although it is more under control here, you can feel it give it to it. However, it cannot be separated from what makes it, in “Eddington”, such as this catalyst. He wants to really show us the big picture, and although “Eddington” is not a horror movie, he puts his finger on a kind of madness that you will get to know with the tremor.