Undoubtedly, Aster is at his strongest when he stays grounded: fear, guilt, and resentment simmering in a small town battered by COVID. Masks weren’t tyranny, they were survival, yet the community still cracked. The true horror lies in paranoia and conspiracy corroding trust. A mayoral race weaponises health rules, while George Floyd’s murder and the rise of BLM seep into brittle lives.
The film renders that trauma with force: the unseen threat of infection, the menace of a cough, the loneliness that fractures families. It’s timely, empathetic, and frightening—Aster close to real fear. But then comes the diversion: a fabricated enemy that pulls focus from the sharper nightmare he’d already captured.
From a transatlantic seat, though, the omission glares: how do you revisit COVID politics without Trump or MAGA, the very forces that lit the fire? In their place, caricatures: youths mocked for protesting police brutality, women written off as conspiracists. That isn’t analysis, it’s scorn. And Aster’s habit remains: escalation for its own sake. Each film harsher, stranger, more indulgent. Shock, posed as insight.
Still, it grips. What begins as a piercing study of fear falters into spectacle, yet its unease lingers. Aster may squander truth chasing spectacle, but he has rarely felt more vital.
Lasted about half an hour with this one.
Covid stand off between two characters by director who directed massively overrated midsommer which was, guess what, insufferable and 2.5 hours long and crushingly dull!!
Who cares about covid? Most of us are glad its gone and dont want to be reminded about it. Apparently this flopped hard and its easy to see why. Dull long and boring. Avoid.