2020年、アメリカ・ニューメキシコ州の小さな町エディントン。コロナ禍のロックダウンにより息苦しい隔離生活を強いられ、住民たちの不満と不安は爆発寸前に陥っていた。そんな中、町の保安官ジョーは、IT企業誘致で町を救おうとする野心家の市長テッドとマスクの着用をめぐる小競り合いから対立し、突如として市長選に立候補する。ジョーとテッドの諍いの火は周囲へと燃え広がり、SNSはフェイクニュースと憎悪で大炎上する事態となる。一方、ジョーの妻ルイーズはカルト集団の教祖ヴァーノンの扇動動画に心を奪われ、陰謀論にのめりこむ。疑いと論争と憤怒が渦巻き、暴力が暴力を呼び、批判と陰謀が真実を覆い尽くすなか、エディントンの町は破滅の淵へと突き進んでいく。
- Tanalien2025年8月9日I left the theater in shock at the escalation of events, but something about it was very honest. Unfortunately, I can imagine a small town going this south this quickly. Eddington is Ari Aster’s attempt at holding up a mirror to America, with a silent plea: We need to start listening to each other again. Eddington is an artistic achievement, a film that is original,, dramatically entertaining, and thought-provoking. In a single experience, Aster aspires to capture American behavior and culture and point to its origin — our lack of self-awareness around how much our thoughts, words, and actions are influenced by powerful corporate and technological forces. Experiencing such a big, artistic swing that offers honest observations about American society, I can’t ask much more of a filmmaker. Making a well-constructed and technically astounding film is difficult enough. Attempting to make sense of our world at the same time is downright insane. I salute Ari Aster’s work — in my eyes, he has succeeded.
- Alex | Pop Culture Brain2025年7月18日I hate to say it, but maybe A24 should stop writing Ari Aster blank checks. I saw Eddington, so here's the good and the bad without spoilers. In case you're not aware, Eddington is Ari Aster's new neo western set in a small New Mexico town in the summer of 2020, and it's one of those uniquely frustrating movies because you can see the wasted potential. Aster puts forth a lot of interesting ideas in this darkly comic, skewed mosaic of America during lockdown. He evokes the tension and paranoia of that time pretty well, albeit with very broad strokes and the actual plot mechanics, up until the third act, are surprising and compelling, even as he relies on archetypes and tropes. There's also that welcome dash of Aster's signature eerie weirdness, which I really appreciated and Joaquin Phoenix is solid. So is Pedro Pascal. Aster also builds a strong sense of place with the New Mexico setting. But that's where I run out of compliments because this movie is kind of a mess. In the end, Aster can't cohesively land on what he's trying to say. He's just throwing everything at the wall and hoping it amounts to something. There are scenes and sequences where I was absolutely riveted, and then other stretches where I was completely disengaged, put off by the excessive, self-indulgent filmmaking. And just when you think, okay, he's finally nailed down the big idea behind this movie, he invents some surreal nonsense in the third act that completely undercuts the first two thirds of the film. I still think Aster is a director to watch, but maybe he just needs a good editor.
- EdmondZippo2026年2月21日It's a microcosm, get it? Very much a This is America today, folks movie that observes both sides of the political climate and is content with doing just that. Everyone is a hypocrite, and it's now cool to call oneself a hypocrite, until there's a reaction to that, and then a reaction to a reaction. The main takeaway here is to log off and stop wasting time arguing with anyone, because it fuels solidgoldmagikarp's expansion (great fucking name). Uninstall everything, let go of your fragile ego and seek the perception you crave in meaningful action. Otherwise, I'll instrumentalize your posturing and weaponize my performative boys. You don't want to see that.
- ricomckee2025年8月17日This is actually a good movie…however, it was extremely difficult to watch and caused a great deal of frustration. Part of this is because Aster doesn’t take a side or stance in the direction of the film. Therefore, depending on your own political leanings you are either traumatized by watching the devolution of our democracy and the fabric of society or cherish the reclaiming of it. This is movie making as an art…but it mimics life a little too closely which is where the true fear comes in. A movie like this should demonstrate an extreme stance to show the absurdity…instead this mimics current society to closely to where it could be a documentary. Therefore a great cast, great direction, and definitive artistic direction but I, who don’t believe in trigger warnings needed a trigger warning.
- mgrie52026年1月11日This film seals the deal for me that Ari Aster is my favorite director. Eddington, like Beau is Afraid, is a masterclass in film making. I feel like he's building a trilogy of sorts with Joaquin Phoenix where he explores what it means to be a man in modern society. Something of a TS Eliot of the 21st century, Aster is a master of uncomfortable, awkward insecurity. Sheriff Joe's tragedy is born from an assertion that he doesn't have to follow the rules. Something I think many of us experienced during the COVID lockdowns. Aster takes Joe's power to heights unseen as he tangles with conspiracy theorists and a rising Black Lives Matter movement, while his wife, whose traumatic past is shrouded in darkness, tangles with new age philosophies, and his heart. I won't spoil anything as I feel going in blind makes the film better.
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エディントンへようこそは2025年7月16日に公開されました。
エディントンへようこそはAri Asterが監督を務めました。
エディントンへようこその上映時間は2h 28mです。
エディントンへようこそはLars Knudsen, Ari Aster, Ann Ruark, Robert Deanがプロデューサーを務めました。
2020年、アメリカ・ニューメキシコ州の小さな町エディントン。コロナ禍のロックダウンにより息苦しい隔離生活を強いられ、住民たちの不満と不安は爆発寸前に陥っていた。そんな中、町の保安官ジョーは、IT企業誘致で町を救おうとする野心家の市長テッドとマスクの着用をめぐる小競り合いから対立し、突如として市長選に立候補する。ジョーとテッドの諍いの火は周囲へと燃え広がり、SNSはフェイクニュースと憎悪で大炎上する事態となる。一方、ジョーの妻ルイーズはカルト集団の教祖ヴァーノンの扇動動画に心を奪われ、陰謀論にのめりこむ。疑いと論争と憤怒が渦巻き、暴力が暴力を呼び、批判と陰謀が真実を覆い尽くすなか、エディントンの町は破滅の淵へと突き進んでいく。
エディントンへようこその主要人物はJoe Cross (Joaquin Phoenix), Dawn Bodkin (Deirdre O'Connell), Louise Cross (Emma Stone)です。
エディントンへようこそはPG12と評価されています。
エディントンへようこそはコメディ, ドラマ, 西洋映画です。
エディントンへようこそは、視聴者によって10点満点中6.6点をつけられています。
エディントンへようこその予算は$2500万です。
エディントンへようこその興行収入は$1373.8万です。