Eddington had its World Premiere at the 2025 Cannes Film Festival. A24 will release it in theaters on July 18.

Ari Aster has had the most interesting evolution over the last decade. Going from elevated horror hits in Hereditary and Midsommar to whatever genre you want to place upon Beau is Afraid, many people, including myself, didn’t expect this specific shift from him. His latest film, Eddington, is a bold and provocative entry in the 2025 cinematic landscape that sees him continuing the march down the further end of the spectrum he started with his previous film. Premiering at this year’s Cannes Film Festival, it has sparked intense debate among critics and audiences alike. Set in the fictional town of Eddington, New Mexico, during the early days of the COVID-19 pandemic, the film delves into the societal fractures and political tensions that defined that era. It calls out everybody, with nobody being safe.

At the heart of Eddington is the escalating conflict between Sheriff Joe Cross (Joaquin Phoenix), a defiant lawman opposing pandemic restrictions, and Mayor Ted Garcia (Pedro Pascal), a progressive leader striving to maintain order. Their personal and political clash serves as a microcosm for the broader national discourse, highlighting themes of misinformation, racial injustice, and institutional distrust. The movie acts as an honest mirror to how COVID-19 messed up American society, especially those in small towns. The execution of this mirror is better than 2021’s Don’t Look Up, which was too satirical and went completely off the rails. Eddington, on the other hand, doesn’t force anything on its viewers except the memories you have of that time period.

Phoenix delivers a compelling performance as Cross, capturing the character's descent into paranoia and authoritarianism. He doesn’t do anything bizarre that some may come to expect after seeing Beau is Afraid. Pascal's portrayal of Mayor Garcia provides a nuanced counterbalance, embodying the challenges of leadership amid chaos. Aster's direction is ambitious and unsettling. It blends elements of Western, noir, and dark comedy to create a genre-defying experience. He’s established that his films are their most eerie when nothing scary is happening on screen. Hereditary and Midsommar are elevated horror at its strongest, while Beau is Afraid is a comedic thriller of sorts. The film's cinematography, led by Darius Khondji, captures the stark beauty of the New Mexico landscape while emphasizing the town's isolation and tension.

While Eddington succeeds in its atmospheric storytelling and character development, it occasionally falters in its political commentary. In terms of the former, whenever a fearful aspect of COVID-19 is on screen (i.e., a large gathering, someone coughing, two people arguing over their beliefs on the matter), it feels rightfully jarring, and Aster accomplishes this effortlessly. Meanwhile, the film's satire lacks clarity, and its portrayal of contemporary issues may feel premature. It may be because it’s been five years since the COVID-19 pandemic took over the world. However, I will give the benefit of the doubt that movies about COVID-19 have to have a starting point eventually, and that’s what Eddington set out to do. Nevertheless, the film's willingness to confront uncomfortable truths and its refusal to provide easy answers make it a thought-provoking watch.

Some viewers may not feel ready to see the pandemic addressed on screen, but Eddington had to be one of the first to do it. It honestly goes to show how daring Aster is as a filmmaker. Whether you like it or not, it’s at least worth acknowledging that he knows his craft. He has a knack for making something worth talking about, regardless of the baggage that comes with it. Eddington is the latest example of that, provoking discussion and introspection about the pandemic, no matter how comforting or discomforting it may be.