“Eddington” review: a satire that could break off her brain again

You may have to lie down a bit afterwards “Eddington.” Preferably in a dark room without screens and without speeches. “Eddington”, ” Ari Asters the latest nightmare Vision is certain to share (what sense I can't find out), but I think everyone can agree: it is an experience that makes them ask: “What?” The film begins with the tightened forays of a dismissal man and does not become much more coherent from there. Approach with caution.

We talk a lot about films as an escape from the stress of the world. “Eddington”, in which a small, fictional city in New Mexico becomes a microcosm of life in the misinformation age and especially during pandemic and pandemic Black Lives Matter Protestsis very the opposite of it. It is an anti-escapist symphony of masking debates, conspiracy theories, YouTube prophets, TikTok trends and topics of the third rail, where no page is spared. In the end, almost everyone looks insane and ridiculous, from the white teenage girl (Amélie Hoeferle), who tells a black police officer (Michael Ward) that he follows the movement to the grammatical mistakes of the truths, while the city turns into chaos and cruel violence.

Joaquin Phoenix plays the city's sheriff, a quietly spoken woman named Joe Cross, who we meet one night in the desert when you see YouTube videos about how you can convince your wife to get a baby. He is interrupted by police officers from the neighboring town, which demands that he have a mask because he has technically exceeded the border.

It is May 2020 and everyone is a little nervous. Joe, frustrated about the hysterical commitment to mandates out of nowhere, can be found as an unofficial spokesman for the right to be exposed. He stands against the Slicken Mayor Ted Garcia (Pedro Pascal), who is ready for re -election, in the Big Tech pocket and is ready to exploit his single paternity for political profits. At home, Joe's mother -in -law Dawn (Deirdre O'Connell) consumes all day over internet conspiracy theories, while his wife Louise (a criminal not used Emma Stone) works on craft and nurses unspoken traumas.

Joe pulling to take ted is not just about masking. Years ago, TED dated his woman today, a story that is twisted into rape and care allegations. Caricatures and stereotypes are everywhere in “Eddington”, but in this world it feels like the women are particularly signed – they are cooks, victims, jealists and those who push fragile men to the edge. But in “Eddington” all conspiracies are real and ordinary people are all susceptible to madness. In fact, madness is only an inevitable inevitable, no matter how well you mean, be it the bright teenager who rattles through rejection, or the loyal deputy type (Luke Grimes), who is suddenly more than happy to accuse a colleague of murder. Louise is also influenced by a floppy-haired internet guru, a cult-like guide who played with perfect boast of Austin Butler.

The problem with an anarchic satire like “Eddington”, In the theaters on Friday, is that every criticism easily with a counter argument “This is the point” could be released. And yet in this silo there is very little to learn that it escalates like all the aster films until the film is over. There are also moments of humor and wit as well as professionally built tensions and liberation. “Eddington” is not incompetent or not to be understood (the cast and the director guarantee that); It just feels nothing more than a cinematic expression of broken brain.

Five years after we have just (at least many) through this, “Eddington” seems to be somehow too late and too early, especially if it offers so little wisdom or insights into a vision of hopelessness. I wonder which world Aster was thinking in he would publish this film. Maybe someone who was better, not cosmically worse.

It is possible that “Eddington” will age well. Perhaps it is the kind of film that the future gene Alpha Cinephiles will be forward, a work that was not seen by critics who did not see that in 2025 it was incredibly misunderstood to the foresighting Paranoia cinema of the 1970s in 2025.

Not like the studio boss in “Sullivan's Travels” and to bring the filmmaker to mind with major problems to make a stupid comedy, but at the moment “Eddington” feels like the last thing one of us needs.

“Eddington”, an A24 publication in the theaters on Friday, is evaluated by the Motion Picture Association for “for strong violence, some gruesome images, language and graphic nudity”. Duration: 148 minutes. Two out of four stars.