Each film Ari Aster classified (including Eddington)

One of the most daring modern authors in cinema is Ari Aster. Aster first took note with “The Strange Thing About The Johnsons”, his thesis short film while he was studying at the AFI Conservatory. Shot on 35 mm, this short film provided viewers a first showcase of Aster’s fearlessness as a filmmaker, in particular his exploration of psychological horror within a complicated suburban family. Impressed by the short film, A24 Greenlit “Hereditary” as Aster’s first feature film. Released in 2018, “Hereditary” became the most profitable film of the A24 of all time, until “Everything Every At Orday” broke the studio record in 2022. With its beginnings, Aster immediately withdrew the attention of moviegoers and criticism thanks to his without compromise and his will to challenge the public.

Aster has produced three other original projects, including the horror film “Midsommar”, the surrealist comedy “Beau is frightened” and, more recently, the Western political satire “Eddington”, all produced and distributed by A24. Although he initially attracted film lovers with his hypnotic voice to the era of high horror, Aster has proven with his two recent projects that he is impatient to tell original stories in different genres which are unequivocal of his imagination. At a time when many people complain of constant consequences, restarts, adaptations and cinematographic universes dominating the multiplex, Aster’s fatherhood continues to be an invaluable contribution in the middle today. Here is the filmography of the artist Martin Scorsese calls “one of the most extraordinary new voices of world cinema”, classified.

Ari Aster’s punch of “Hereditary” and “Midsommar” in consecutive years is comparable to “reservoir” by Quentin Tarantino and “Pulp Fiction” or, more recently, “Fruitvale Station” and “Creed” by Ryan Coogler. Naturally, anticipation was to build for what Aster’s next project would be, especially when it was revealed that he would work with the winner of an Oscars, Joaquin Phoenix, as the film advances. Four years after the public “Midsommar” with fascination “, Beautiful A fear” was released in theaters, testing the patience of his viewers as Aster’s most abrasive film to date, which is why it is always worth watching.

A three -hour Kafkaesque surrealist trip, “beautiful a fear” brilliantly captures the atrocious pain of intense anxiety, beautifully animated with amazing cinematography, impeccable editing and, above all, a Masterclass performance of Phoenix. Aster was not afraid to upset the viewers with his third effort as a director, intentionally leaving uncomfortable viewers from the first frame, to his peak and the end of his madmen, which presents one of the most knotty and most disturbing images captured in the cinema this decade.

After having made waves of horror and made a detour to deep surrealism, Ari Aster chose to tackle our current reality through the objective of a neo-Western political satire. “Eddington” brings back the viewers to 2020 during the pandemic, an era that most of us would like to forget but which has an irreparably damaged society worldwide. Aster plunges his head first into the US climate powder barrel during this period, when cultural wars concerning mask mandates and skepticism vaccinated to a fever, coinciding with national demonstrations against police brutality and racial injustice following the murder of George Floyd.

Ari Aster successfully developed a very engaging satire following a set of characters in this small titular town, in particular with the political fracture between the Sheriff Joe Cross (Joaquin Phoenix) and the mayor Ted Garcia (Pedro Pascal). “Eddington” serves as a biting declaration on how the practice of each American is plagued by their social media algorithms, which strengthen everyone in diametrically opposite realities, distance communities more. Tensions arise at the head of the third act of the film, leading to an unpredictable final which is equal to hilarious and tragic, serving as a scathing accusation of our extremely stupid political era.

In 2019, “Midsommar” hung the horror fans with its hypnotic hpid of psychedelics, festivals and cults – with almost all the frightening images captured in broad daylight. Ari Aster’s second year effort is not a crisis, leaving the door with one of the most disturbing opening sequences of the genus this century. Magnificently captured by the euphoric cinematography of Pawel Pogorzelski, the visuals of the Vibrating Swedish village and Bissing the sun are used as a striking contrast with the violent and violent images, because our main characters realize that they have obtained more than they should be negotiated during their summer vacation.

In the center of “Midsommar” are Dani (Florence Pugh) and Christian (Jack Reynor) whose relationship already Rocky is put to the ultimate test during the nine -day summer festival. Just when you think things could not get worse for these two, ASTER loses the disturbing mystery behind it, leading to one of the most cathartic conclusions for a protagonist in a horror film of the last 20 years. Pugh stands out in particular in perhaps its best performance to date, showing the public some of the most visceral faces of abject terror never captured on the film. Friendly reminder: Do not relieve yourself on a sacred tree during a summary festival, because it will not end well for you.

With an already impressive career covering four films during seven years, Ari Aster’s first film, “Hereditary” still reigns as the best work to date. A more in -depth exploration of the complicated family dynamics seen in its short film, “The Strange Thing About The Johnsons”, “Hereditary” meets the Grahams (Sorry, Kendrick Lamar), a mourning family prey to generational trauma with a story linked to a mysterious cult. A family drama captivating first and a horror film that reprimanded the skin and that is psychologically suffocating, “Heredital” is a triumph of masterful genre cinema. It is one of the best beginnings of director of the century.

The Graham family is made up of a wonderful group of actors, with a respectable turn of Gabriel Byrne like Steve, a husband and a father in difficulty. Alex Wolff successfully loses his image of Nickelodeon Child Star in a devastating performance while Peter, the eldest child in difficulty, and his sister, Charlie, is enigomically described by the unforgettable Milly Shapiro. However, the main performance of Toni Collette as a year, the wife and the mother completely devastated, is a tour of force – although she was terribly snubbed by the Oscars.