The recent death of Robert Redford was a reminder of just how much All the President’s Men unsettled old certainties about American democracy. An exposé of the Watergate scandal of 1972 (when members of the campaign to re-elect Richard Nixon were caught planting secret recording devices at the Democratic National Committee’s Watergate building), Alan J. Pakula’s film fed into an increasing sense that the institutions of American governance were riddled with corruption.
Maybe not everyone agreed with Pakula’s dark vision. But he was not alone. Over the years since, Oliver Stone could also be relied on to make state-of-the-nation cinema, as could Martin Scorsese – or before them, Frank Capra. Such films attempted to capture, usually to critique, the national mood at that moment in time.
Paul Thomas Anderson’s new film, One Battle After Another, suggests that there is still a place for challenging filmmaking in today’s culture. Along with the recently released Eddington by director Ari Aster, these new state-of-the-nation films explore an America that is in crisis and throw it in our faces in staggering, epic narratives.
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Both films speak to the chaos of a social order that is falling apart. Both, but particularly Eddington, also threaten to be so overwhelmed by this chaos that they end up by falling into incoherence.
The term, “incoherence”, is not chosen at random. One of the seminal texts for film scholars of the 1980s was Robin Wood’s The Incoherent Text, Narrative in the 70s. Looking back at a series of films from this decade, Wood argued that “here, incoherence is no longer hidden and esoteric: the films seem to crack open before our eyes”. These two films do much the same, exposing through chaos something incomprehensible about our times and falling into incoherence in the process.
Set during the pandemic in a desert town, Eddington hurls itself from one flashpoint to the next. The sheriff, Joe Cross (Joaquin Phoenix) refuses to wear a mask and this apparently minor infraction soon pits him against his old enemy and competitor in love, Mayor Ted Garcia (Pedro Pascal). Borrowing from Maga-style campaigning, Cross enters the election as candidate for new mayor.
At home, Cross is living with his conspiracy theory-loving mother-in-law, Dawn (Deirdre O’Connell). His wife Louise (Emma Stone) is retreating further into mental illness and isolation.
On the edges of this, a mysterious conglomerate is building a data centre just outside of town. Race riots are also breaking out following the George Floyd killing. But there is much more to come.
Director Ari Aster could hardly have dreamed up more issues than he does here. With so much weight piling onto the narrative, Eddington concludes with an extended shoot-out that tips an already over-extended film into terminal disarray.
One Battle After Another,