Ari Aster’s latest film, EDDINGTON, has polarized critical intelligentsia. While a few have hailed it as a “masterpiece” many others have decried it as at best an ambitious flop. As with Aster’s last “flop” Beau is Afraid, critics and audiences alike seem confused and disappointed by Aster’s non-horror films.  Without the surface excitement of supernaturally tinged serial killings or sadistic torture, Aster’s non-horror films seem to lean more art house than grindhouse. With Eddington, Aster has made his most accomplished and politically potent film to date. Set during the 2020 lockdowns, Eddington scales the mass paranoia and detachment from reality which proliferated at that time-and continues to grow- way down to a tiny western town. Embedding huge political and moral concerns in the fabric of everyday small town western American life is what gives Eddington its power and clarity. What happens in microcosm also happens in macro. That the petty bickering and fully formed silo’s of disinfo serve to mask the data processing center being negotiated to be housed outside Eddington, perfectly encapsulates the way our behaviors and ideas often are manipulated and exploited for corporate and fascist interests. Join Azed and Tom as they discuss one of the most controversial films of the year so far, a film they both believe is one of the best of the year.