This “crazy” star thriller about the US pandemic sector is “Get out of breath.”

Midsomer and genetic director Ali Astor are about to shock the surreal Gory Western, featuring Joaquin Phoenix and Pedro Pascal, premiering at the Cannes Film Festival.

Ari Aster’s first two films, Genetic and Midsomer, were worshiped by fans of the so-called “Horrored,” but his third film, Beau in 2023, was terrified. His fourth film is slightly less excessive and more vast than most other films you’ll see this year. If Bo appears to be afraid of Astor’s own fears and neurosis, Eddington is about the more common fears and neurosis in the United States in 2020. The writer-director leaves everything to his black comic modern westerns – COVID-19 and online conspiracy theory, black lives, white privileges and white privileges, cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult cult The film would probably have been better if it was probably more focused (and shorter), but Aster’s crazy vision makes most directors look ti-sick in comparison.

His central idea is that all of the most controversial stories in the United States are narrowed down to the small desert town of Eddington, New Mexico. Joaquin Phoenix stars as an embarrassing, capable sheriff, who likes to claim that any of these issues are “the issue here.” Yes, the pandemic is terrible, and yes, the murder of George Floyd was a shameful crime, but will they not affect Remote and Dusty Edsington? Anyway, he has more personal aggravation to worry about. Town mayor Ted (Pedro Pascal) has signed a deal that will allow a vast, high-tech hub to be built nearby. Joe’s wife, Louise (Emma Stone), has years of uncertainty that she may or may not have had a connection with the mayor. And his stepmother, Deirdre O’Connell, is obsessed with his own inadequacy as a sheriff and husband. The solution to Joe’s complaints is that he is not thought of like everything else, and he will face Ted as an anti-lockdown candidate in the imminent mayoral election.

For a while, both the film and the sheriff will repeat slowly and repeatedly, from location, from subject, genre to genre. Eddington is a quirky lampoom of small town politics and a frenzy cutting edge satire, which can be an unpleasant combination. You see it with a mixture of isolated respect that Astor is ignored in so many films, that he is so pessimistic about those issues, that he is calming for all its eccentricity, and that he is ignored in the darkness of being frustrated that he is not sticking to it. Viewers may also experience a throbbing of stress that causes a constant headache, not because a particular character is at risk, but because almost every character is so ignorant and hostile, that it feels like the dark situation is about to get worse miserably. Joker, you weren’t really here, as Bo fears, as he fears. Phoenix is ​​the master of feeling uncomfortable with his own skin, and the harsh sheriff he plays is even sympathetic in his most cheating, as he has a habit of making things worse for himself than anyone else.

Until Eddington is somewhere around the Halfway Mark, murder turns the film into a fragile crime thriller with Coen Brothers’ Fargo Echo and Echo for the Old Man, changing Paul Thomas Anderson’s inherent vice-double (another example of the outrageous auteur excess that Phoenix earned a star). The sheriff’s investigation is not too fitting for all the satire and tragedy he’s done before. The Austin Butler cameo could have been cut as a cool new era demagogue, and Stone has little to be confused. However, tensions and conspiracy grow, and the outcome suddenly appears to be important.

And Eddington changes once more when you are drawn into a murder plot. That low level of oddity jumps to surreal and goalie heights. And it continues to go higher until it reaches the peak of Gonzo’s high adrenaline fun that leaves you to upset and hold your breath. Many viewers would have had enough of the film long before that, but there is something heroic about Astor’s uncompromising resolve to go his own way. It is also surprising that he escaped on such an indifferent project. Eddington’s packed nature suggests that 21st century US conflicts were ultimately too much for him to handle. But you have to give it to him to try it.