Reflecting on America in May 2020

Does anyone really want to go back to America in May 2020? BLM, COVID-19, mask mandates, and all that buzz surrounding cancel culture? Yeah, I think I’ll pass on that.

There’s this one scene where a white teenager tries to explain privilege to his stunned parents, which is bound to stir some reactions.

Surprisingly, director Ari Aster turns this into a conversation worth having.

2020 Vision

Aster, known for “Hereditary” and “Midsommar,” explores a chaotic chapter of American history with his new film “Eddington.” If you’re hoping for a heartfelt progressive message, you might be in for a letdown.

He doesn’t throw you into a swanky cocktail party—no, his narrative holds back, sidestepping the extremes of conspiracy theories and BLM fervor.

The third act, though, feels undisciplined. If you think the protests of the early 2020s were disorderly, the finale of “Eddington” may just hit the mark.

Without this coherence, some potentially remarkable films often lose their way.

Mask Off

Joaquin Phoenix plays Sheriff Joe Cross, a serious attorney frustrated by his state’s new mask requirements. It’s May 2020, and the nation is already spiraling into pandemic-related chaos.

He attempts to restore some sanity to Hamlet, New Mexico, but faces little pushback. The townspeople have already fully embraced the mask culture, led by Mayor Ted Garcia, played by Pedro Pascal.

His frustration drives him—perhaps impulsively—to announce his candidacy for sheriff. Meanwhile, his wife, Louise (Emma Stone), spends her day dodging his advances and diving headfirst into conspiracy theories with her incredibly passionate friend (Deirdre O’Connell).

Progressive McDrive

As protests erupt in Eddington following George Floyd’s death, they strain the already limited resources of the town. These protests, filled with young participants, often lack depth in understanding what they are shouting about.

Terms like “white privilege” and “colonization” are tossed around, creating an odd mash-up of progressive slogans that sometimes seem simpler than they are. It’s a somewhat misguided white issue, as BLM supporters grapple with recognizing their privileges against the backdrop of historical injustices.

In a bid to connect, one teen looks up “Angela Davis” just to strike up a conversation with fellow protesters.

Now, looking back, it’s somewhat amusing, though it wasn’t at the time. Unfortunately, the nuances of these thoughts often get lost.

Aster doesn’t sugarcoat the absurdities of the left but veers into caricature at times. His narrative sense is surprising and clever, crafting a culture war film that refuses to be overtly one-sided.

Is It Too Early?

Aster tackles various cultural phenomena of 2020, presenting distractions that captured our attention during the lockdown.

So what’s missing? Oh right, the “Tiger King” series on Netflix!

Joe struggles to strike a balance. He’s annoyed with people trying to catch him in a bad light on social media, yet he still relies on his phone for campaign videos.

His political instincts—or lack thereof—end up being one of the film’s highlights.

Aster’s approach is bold, yet it raises the question: Is it too soon to dissect these social upheavals? I think not, especially with all we’ve learned about COVID-19 and BLM actions since then.

Hackney Slogan

“Eddington” isn’t your run-of-the-mill comedy, but it packs some satirical punches. In another memorable scene, a white teen finds himself explaining privilege to astonished parents, a moment that elicits a particular kind of laughter.

It feels good to laugh at that.

Kids in Eddington want to break free from their stay-at-home lives, so they join BLM and chant slogans without fully grasping their meaning.

They look pretty down, though.

The storyline weaves in moments of levity, particularly with Austin Butler’s portrayal of a slippery conspiracy theorist. He’s compelling but not fully unleashed.

Laughter Riot

Unlike Aster’s previous film, “Midsommar,” which felt overly drawn out, “Eddington” also stretches over 2.5 hours, but is welcomed for its brisk pacing.

While it does shift into darker territory midway, it lacks the urgency of a top-notch thriller. Instead, we’re left grappling with character motivations amidst a somewhat chaotic narrative.

It doesn’t all make sense, and the dark humor doesn’t fully land.

Phoenix masterfully embodies a beleaguered sheriff. Poor Joe is weighed down by the demands of a constantly connected world. Pascal’s mayor, meanwhile, tries to elicit our sympathy, sporting a “he/him” pronoun label on his Zoom account.

Expired Relief

This is what Hollywood portrayals look like in 2025… right?

Yet, Aster presents a somewhat smug side of his characters without glorifying his Hispanic leader.

“Eddington” isn’t just a sermon or cautionary tale. Aster offers little in the way of solutions, leaving viewers with only the potential for increased distress. We’ve witnessed enough turmoil on-screen, and laughing it off provides a much-needed escape from the reactions we faced.

Will we ever return to that situation? It seems unlikely.

Hence, the chaotic conclusion hits hard, and “Eddington” ultimately loses its way. The cynical ending punctuates this idea.

In a way, Hollywood is revisiting the worst year we can remember. The commitment Aster shows through “Eddington” makes it almost essential viewing.