The film Eddington takes viewers to the desert city of Eddington, New Mexico, during the COVID summer of 2020. The story revolves around Joe Cross, the city sheriff, who stands out as he refuses to wear a face mask. Joe is an asthmatic, but his decision is more about his contempt for COVID stats and lockdowns. This choice makes viewers wonder if Joe's stance represents the film's perspective. Joe is portrayed as a well-meaning but clumsy character, making it hard to pin down the film's exact message.

The movie delves into the societal shifts triggered by the George Floyd murder and the subsequent protests. It portrays the local anti-racist youth movement as deluded narcissists, highlighting the moralistic self-righteousness that has become an addiction in America. The film doesn't stop at COVID protocols; it also satirizes the radical-chic fervor of middle-class white kids. This approach might make viewers wonder if the film is leaning towards a right-wing perspective, but it's not that simple.

Eddington aims to dramatize what it views as America's collective loss of sanity during the pandemic era. The film presents a vision of a transformed society, touching on various cultural and ideological spectrums. It explores the sense of control that dominated the COVID years, the rise of moral absolutism, and the paranoia surrounding conspiracy theories and pedophilia. The movie also delves into the impact of social media and the rise of big tech, which it portrays as both the orchestrator and beneficiary of the distorted reality.

The film's protagonist, Joe Cross, decides to challenge the city's mayor, Ted Garcia, who has a hidden past with Joe's wife, Louise. Louise has a history of mental illness and is drawn to Vernon, a member of a cult devoted to victims of child sexual abuse. Vernon's influence leads Louise to abandon Joe, leaving him devastated. The film captures how the dislocation of reality affects not just politics and media but also intimate relationships.

Eddington also satirizes the performative aspects of middle-class radicalism, showing how it ensnares various members of the community. The film never doubts the validity of the protests against the murder of George Floyd but critiques the self-lacerating true believers who emerge from these movements. The movie is a scalding provocation, capturing a society spinning out of control and away from any sense of collective values. It's a darkly ambling thriller that takes viewers into a terrain of stranger things, reflecting the madness of the times.

ARI ASTER

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