One of Our Best Directors Just Made His Most Befuddling Movie Yet. What the Hell Is It Trying to Say?

In Ari Aster's movies, the price of understanding how the world really works is your sanity, if not your life. His first three movies--Hereditary, Midsommar, and Beau Is Afraid--center on characters whose feeling that there's something sinister going on beneath the surface of their existence is eventually proved to be correct, but it's as if their bodies aren't equipped to contain that knowledge. One way or another, their minds are gone. The people in Aster's polarizing fourth movie, Eddington, a Western-inflected psychodrama set during the early days of the COVID-19 pandemic, don't get off so easy. The stress test of a rapidly spreading virus with no known treatment exposes innumerable cracks in society's facade: the gap between remote workers and people forced to risk their lives in order to earn a living; between people who breathe a sigh of relief when they see a police car approaching and people who have to be sure to keep their hands in plain sight.