Cannes Review: Ari Aster’s Eddington is an ambitious period film set in the 2020s that succeeds in moments.

      In Eddington, Ari Aster’s latest descent into darkness, the proposal to build a data center in remote New Mexico triggers a long-overdue psychological unraveling. The protagonist is Sheriff Joe Cross (Joaquin Phoenix), who grapples with a concerningly online mother-in-law (Deirdre O’Connell), a disinterested, catatonic wife (Emma Stone), a progressive mayor (Pedro Pascal) aiming to construct a cutting-edge data center, and the usual disruptions of COVID-19. If merely reading that term causes unease, it is entirely intentional: Aster has been redefining the horror genre with A24, establishing himself as a chronicler of crippling anxiety. While Hereditary may be best known for its shocking decapitation, years later, it seems the most frightening aspect for Aster was whether his main character—an artist nearing an important exhibition and a nervous patron—would meet her deadline.

      Eddington is nothing if not ambitious, serving as a period piece for an era not too far removed from the recent past, tackling issues that many would avoid. When All the President’s Men was released, Richard Nixon had been out of office for just two years, yet most Americans had largely accepted it was likely the right choice. Set in the tumultuous summer of 2020, amidst events the world is still grappling with, Eddington digs into a raw wound. The director’s decision to focus on Cross—an anti-masker who contests the popular Garcia for mayor—provokes thought, though it can be seen as misguided. Cross’s poorly developed beliefs (coupled with Phoenix’s unusually vague performance) keep him at a distance. We never truly delve into his psyche, making his eventual downfall appear both nihilistic and dramatically flat. (That the only characters who act with integrity are a Black cop, Michael (Michael Ward), and members of the neighboring Pueblo community might reflect the confines of Aster’s satirical insight.)

      The film reaches a high point, perhaps its best moment, during a BLM protest where a local white girl, Sarah (Amélie Hoeferle), confronts Michael, whom she briefly dated, simultaneously reprimanding him for his lack of involvement while disingenuously labeling herself a hypocrite as she calls for him to take a knee. Aster is likely judicious in releasing the pressure here, but the film doesn’t quite clarify its message in these moments, leaving viewers with a sense of futility and disillusionment. Sarah’s behavior is portrayed as self-righteous, mirroring the performative actions of the two other group leaders—a local boy (Cameron Mann) and Eric (Matt Gomez Hidaka), son of Mayor Garcia.

      Both young men, of course, are driven by ulterior motives and seem determined not to be overshadowed by one another. This atmosphere is echoed in Cross's marriage to Louise, who we discover had a past relationship with Mayor Garcia and whose mother will connect her to a disturbing conspiracy theorist named Vernon Jefferson (Austin Butler, using his good looks in a brief but impactful role). It's interesting how many times Stone has portrayed a hesitant romantic interest in recent years—most recently in The Curse, another tale of tech enthusiasts and racial tensions in a small New Mexico town, but one that tackles its themes with more precision than Aster does with a heavier hand.

      Regardless, I appreciate that a bold director like Aster was given two chances to create a film like this; most would eagerly trade anything to produce even one. Despite its shortcomings, Eddington is filled with ideas, and anything shot by the talented Darius Khondji is always engaging: especially the aerial views of the town, which effectively give the film a sense of being a petri dish. Aside from Radu Jude, no director has gotten as close to replicating the dizzying feeling of doom scrolling as Aster did in the opening moments of Beau Is Afraid. Even with its recurring imagery of phone screens and current memes, Eddington attempts to capture a similar sensation, yet its execution feels dragged out, only cohering in sporadic bursts. Aster generally holds back until a finale that is as extreme as it is bitterly cynical. I was eager for it to end, yet I look forward to watching it again.

      Eddington premiered at the 2025 Cannes Film Festival and is set to release on July 18.