Ari Aster is currently living in a state of blissful ignorance. It won’t last long. The director of “Midsommar” and “Beau Is Afraid,” who has brought his politically volatile work “Eddington” to the Cannes Film Festival, admits he hasn’t seen any of the online reactions to his movie. “I’ve been very deliberately avoiding the discourse about the film,” he told CNN during a packed and often impassioned press conference at the festival on Saturday. “I’ll probably dip my head into the swamp and see what the f***’s going on in there, or something, but I haven’t done it yet.” “Eddington,” starring Joaquin Phoenix, Pedro Pascal, Emma Stone and Austin Bulter, is set in small-town New Mexico during the early days of the Covid-19 pandemic. Phoenix’s sheriff is baffled by mask policies and the apparent hysteria among the townspeople, while Pascal’s mayor is toeing the line (while also making dubious business deals with big tech to build a data center on the town’s outskirts). Their contretemps predates the pandemic, rooted in their relationships with the sheriff’s wife, an aloof, clearly depressed Emma Stone. The small-town drama is pulled wider by news events, namely the death of George Floyd and the protests movement that followed. Aster shoehorns all manner of hot-button topics: identity politics, social media silos, false flag attacks, and the allure of conspiracy theories, all facilitated by the wholesale erosion of truth in the digital age. The film is proving a potent Rorschach test. Less than 24 hours after it premiered, there’s already plenty of online chatter about where “Eddington’s” own politics stand, with commentators of all stripes – some sight unseen – making the case it speaks for them. “I wanted to paint a picture of the society that we’re now living in,” said Aster. “And I didn’t want to attach myself to one ideology or one story or one belief system, because it’s too narrow. That’s not the point, y’know? The film is designed to be ambiguous in certain ways.” “What the film is about, for me, is about what happens when people who are so isolated and are living in their own realities – what happens when they come into conflict with each other,” Aster explained. “When you start bumping up against each other, a new logic is created, and out of that, people start amplifying each other’s fears.” Earlier at the press conference, the director discussed how the project began. “I wrote this film in a state of fear and anxiety about the world,” he said. “I wanted to try and pull back and just describe and show what it feels like to live in a world where nobody can agree on what is real anymore.” “I feel over the last 20 years we’ve fallen into this age of hyper-individualism … that social force that used to be kind of central to liberal mass democracies – which is an agreed upon version of the world – that is gone now,” he added. “Covid felt like the moment where that length was finally cut for good,” Aster said. “I wanted to make a film about just what America feels like to me and what it felt like to me at that time.” Journalists pressed the actors and director more than once on the current state of America. One questioned if actors had fears of reprisals for making movies with political messages. “Fear is the way that they win,” said Pascal. “So keep telling the stories, keep expressing yourself, and keep fighting to be who you are. And f—k the people that try to make you scared, y’know? And fight back. This is the perfect way to do so, in telling stories. And don’t let them win.” Pascal, answering another question about Latin American migrants, recounted his youth:“My parents are refugees for Chile. I myself was a refugee. We fled a dictatorship. And I was privileged enough to grow up in the US after asylum in Denmark. And if it weren’t for that, I don’t know what would have happened to us. And so I stand by those protections,always.” Another journalist went as far as to ask if there was “nothing left but civil war waiting for America.” “I don’t speak English,” Aster quipped, before eventually answering. “I think we’re on a dangerous road, and I feel like we’re living through an experiment that is going wrong – it’s gone wrong. It’s not going well and it feels like there’s no way out of it … (It) should probably be stopped or paused because it’s not working, but it’s clear that nobody’s actually interested in stopping it.” Cannes is no stranger to mixing art of politics. The seminal 1968 edition featured protests spearheaded by director Jean-Luc Goddard, which forced the festival to shut down. (Time proved kind to Goddard of course, who will be venerated once more at Cannes this year with Richard Linklaker’s “Nouvelle Vague,” which retraces the new wave director’s efforts to get 1960 film “À Bout de Souffle” made.) The 78th edition, the first since President Donald Trump’s return to office, has already, and perhaps inevitably, kept one eye on the news. On the opening night, Robert De Niro, receiving an honorary Palme d’Or, hit out Trump, labelling him a “philistine president.” “In my country, we are fighting like hell for the democracy we once took for granted,” he told an audience made up of the great and good of the international film community. The Cannes Film Festival runs until May 24.
‘Eddington’ ignites an already politically-charged Cannes Film Festival
TruthLens AI Suggested Headline:
"Ari Aster's 'Eddington' Sparks Political Debate at Cannes Film Festival"
CNN
7.1
TruthLens AI Summary
Ari Aster, the director of the politically charged film "Eddington," is currently navigating the waters of public opinion at the Cannes Film Festival. Despite the film's premiere igniting discussions online, Aster has chosen to remain oblivious to the feedback, stating he has deliberately avoided engaging with the discourse surrounding his work. "Eddington" features a star-studded cast, including Joaquin Phoenix, Pedro Pascal, Emma Stone, and Austin Butler, and is set against the backdrop of a small New Mexico town during the early days of the Covid-19 pandemic. The narrative intricately weaves personal conflicts—primarily between Phoenix's sheriff and Pascal's mayor—with broader societal issues, such as mask mandates, conspiracy theories, and the impact of the Black Lives Matter movement. Aster aims to reflect the complexities of contemporary society, emphasizing the ambiguity of his film’s stance on various ideologies. He articulates a desire to portray a world where individuals, entrenched in their own realities, collide and amplify each other's fears, leading to a unique, collective logic that emerges from their interactions.
During the press conference, Aster elaborated on the film's inception, attributing his creative impulse to a sense of fear and anxiety about the current state of the world. He expressed concern over the erosion of a shared reality, particularly exacerbated by the pandemic, which he feels has deepened divisions in society. Aster’s reflections resonated with the cast, notably Pascal, who shared his experiences as a refugee and underscored the importance of storytelling as a form of resistance against fear. The conversation turned towards the current political climate in America, with Pascal urging creatives to continue expressing themselves despite potential backlash. The film festival, a historical platform for political discourse, has seen its share of provocations, including Robert De Niro's criticism of former President Trump during the opening night. As the Cannes Film Festival continues, it remains a stage for artists to confront and comment on the pressing issues facing society today.
TruthLens AI Analysis
The article highlights the premiere of Ari Aster's film "Eddington" at the Cannes Film Festival, emphasizing its politically charged themes and the director’s deliberate avoidance of online reactions. This context sets the stage for a deeper analysis of the implications and potential motivations behind the coverage.
Purpose of the Article
The coverage aims to generate intrigue and discussion surrounding "Eddington," particularly in relation to its political commentary and social relevance. By framing the film as a reflection of contemporary societal issues, the article seeks to attract attention not only to the film itself but also to the broader discourse about politics and media in the modern age. This aligns with a trend of films being used as lenses through which societal tensions are examined.
Public Perception
The article likely aims to create a perception of "Eddington" as a provocative and relevant piece of art that engages with pressing issues, which may resonate with audiences who are already politically aware. This can polarize opinions but also stimulate a deeper conversation about the themes presented in the film. It suggests that viewers may find their own perspectives reflected in the film, which can create a sense of ownership over its interpretation.
Potential Information Omission
While the article discusses the film's contentious themes, it does not delve into specific critical responses or provide a balanced view of differing opinions. This could imply that there are aspects of the film or its reception that are being downplayed or excluded to maintain a particular narrative about its significance.
Manipulative Elements
The report carries a certain degree of manipulative potential through its language and framing of Aster as an artist grappling with complex issues without aligning to a single ideology. This can create a narrative that elevates the film’s status as a cultural artifact while simultaneously inviting polarized interpretations from audiences. The use of charged terminology like "hot-button topics" and "Rorschach test" suggests an intention to provoke strong reactions.
Truthfulness of the Article
The piece appears to be grounded in factual reporting about the film and its themes. However, the framing choices and the selective focus on Aster's avoidance of online discourse introduce an element of subjectivity. The portrayal of the film as an ambiguous exploration of societal issues may or may not reflect the actual content of "Eddington," depending on individual interpretations.
Societal Implications
The release of "Eddington" and the ensuing discussions could influence public opinion on various social issues, including identity politics and conspiracy theories. This may lead to increased polarization among viewers, potentially impacting social dynamics and even political discourse.
Target Audience
The article appears to cater to audiences interested in film, politics, and social commentary. It likely resonates more with those who are already engaged in discussions about identity, social media, and political issues.
Economic Impact
While the article does not directly address financial markets, the buzz generated by "Eddington" could influence the stock performance of companies associated with the film industry, especially distribution and streaming platforms. It may also impact public perceptions of companies engaged in the technology sector, given the film's themes related to big tech.
Global Power Dynamics
The film and its themes may indirectly reflect or influence broader global power dynamics, particularly in relation to how societies react to crises like the pandemic or social justice movements. The timing of the film’s release amidst ongoing global discourse makes it relevant to current events.
AI Influence on the Article
There’s a possibility that AI tools were employed in crafting this article, particularly in generating thematic analysis or summarizing press conference sentiments. The tone and structure may reflect algorithmic patterns typical of media reporting, aiming for engagement and shareability.
In conclusion, the article presents "Eddington" as a culturally significant narrative that encourages reflection on contemporary societal issues, albeit with a lens that may selectively amplify certain interpretations. The nuanced portrayal of the film and its reception serves to engage a politically aware audience while possibly obscuring more complex critiques.