Ari Aster has cracked the code. Whatever your politics or your feelings about our “moment,” Eddington (2025) represents a formal achievement. He’s projected our phones and COVID onto the silver screen in a manner that is neither cloying nor haphazard. For how long have directors pussyfooted their way around this age of cyber schizophrenia? Phones might upend the plot of many pre-2010s horror films, but the real issue is knottier. Text messages, YouTube videos, doomscrolling—these are not interesting to watch.... Read more