It’s hard not to feel disappointment when looking at the commercial trajectory of Ari Aster’s post-“Midsommar” career.
While his debut, “Hereditary” — still his best film — and sophomore effort, “Midsommar,” made A24 some money and elevated Aster to one of the most exciting voices in modern horror, his last two films, “Beau Is Afraid” and “Eddington,” failed to ignite with critics, nor did they find an audience. At least, not the kind that shows up on opening weekend.
And that might have consequences.
Aster recently appeared on The Big Picture podcast, where he let slip some intriguing details about what’s next.
“I’ve got a sequel that I’ve been cooking up for Eddington,” he told host Sean Fennessey. “I got a horror movie I’m interested in doing. There’s a sci-fi adaptation that I’m thinking about. I’m trying to determine the right thing to do next.”
That’s all fine and dandy, but there might be a problem in getting any of these made: Money. If “Eddington” couldn’t find an audience, what are the odds that a sequel will do any better? It’s the kind of project that screams “passion” over profit—catnip for cinephiles, poison for most investors.
Aster once quipped that he couldn’t believe A24 was “stupid enough” to give him $35M to make “Beau is Afraid.” They shelled out another $30M for “Eddington.” Maybe that’s the end of that partnership.
And yet, it’s hard not to root for him. In an era where so few filmmakers are allowed to play with real budgets and real ambition, Aster remains one of the few U.S. directors swinging for the fences. Say what you will about “Beau Is Afraid” and “Eddington” —they’re not safe. They’re not algorithm-friendly. They’re Ari Aster.
A24 reportedly took a $35M loss on “Beau Is Afraid.” The film divided audiences and critics alike—a sprawling, three-hour Oedipal panic attack with surrealism and no clear genre label. It was Aster at his most unhinged, for better or worse. “Eddington,” his latest, was a similarly tough sell: a neo-western that is set to have a tepid opening weekend of only $4.5M.
A24 gave Aster two blank checks. Neither paid off at the box office.And so the question becomes: does Aster still get to make the kind of films he wants to make? The film industry isn’t exactly in a generous mood these days. With studios slashing budgets and indie arms scaling back, someone like Aster could easily find himself squeezed out, or forced to compromise, which is something that has yet to happen in his career.
That said, a return to horror might be his best play. It’s the genre that launched his career and the one that still prints money when done right. If Aster can deliver something closer in spirit to “Hereditary,” then there’s hope. And maybe then, “Eddington 2” (or whatever he’s calling it) can find its way into existence.
Criterion's December lineup has some great additions to the library, but the title that jumped out at me is Werner Herzog's "Grizzly Man," which officially joins the Collection on December 8.