Ari Aster’s highly anticipated film, Eddington, premiered today at the illustrious Cannes Film Festival. The responses from attendees appear to be mixed, suggesting that the film might echo the uneven tone of Beau is Afraid rather than exhibiting the tightly crafted genius of Aster’s previous works like Midsommar and Hereditary. The plot is set in the fractured community of Eddington, New Mexico, during May 2020, focusing on a rising conflict between a sheriff, played by Joaquin Phoenix, and the mayor, represented by Pedro Pascal, as underlying tensions within the town simmer.
Following the screening, audience reactions varied widely. Aster, visibly moved, shared his appreciation, commenting, “I don’t know what to say. I feel very privileged to be here. This is a dream come true.” While some viewers remarked on the film’s “muted” reception, others cheered as the film received an extensive standing ovation that lasted seven minutes, according to reports from Deadline.
In his review for THR, David Rooney described Eddington as striving for a modern Western genre infused with dark humor, though ultimately lacking in both suspense and comedic impact. He characterizes it as “a distancing slog” and argues that it doesn’t quite hit the mark, calling it “bloated, self-indulgent, rambling, crazily ambitious and commendably odd.”
Rooney critiqued the film for its attempts to satirize both liberal and conservative viewpoints, noting it fails to offer robust political commentary. He concludes that viewers might find themselves feeling disconnected from the characters, suggesting, “It drops us back into that surreal summer five years ago, without the benefit of fresh perspective.”
On the other hand, Damon Wise from Deadline offered a more optimistic analysis while acknowledging the film’s narrative disarray. He labeled Eddington as “a big swing,” suggesting it tackles pressing societal issues through the lens of the COVID-19 pandemic. Wise highlighted its brutal examination of current societal dynamics, emphasizing undercurrents of movements like QAnon and the Proud Boys that many might prefer to ignore.
Owen Gleiberman’s review in Variety noted that while Eddington avoids the convoluted narrative struggles evident in Beau is Afraid, it sometimes veers into the realm of abstraction. He observed that while Aster’s extravagant artistic tendencies are somewhat tamed, they remain a defining element of the film. Gleiberman argued that Aster’s ambition to paint a larger narrative canvas in Eddington places it in a distinctive creative space, resonating with the madness prevalent in contemporary society.
Audiences will have to wait until July 18 for the film’s theatrical release.
