Exclusive: Aster co-programmed the series, titled "Eddington City Limits," which highlights the features that inspired his COVID-set Western.

Ari Aster's Eddington tackles a myriad of controversial topics in a neo-Western framework, and we spoke with the director about the film's influences and more.

You might need to lie down for a bit after “Eddington.” Preferably in a dark room with no screens and no talking. “Eddington,” Ari Aster’s latest nightmare vision, is sure to divide (along which lines,

The first and maybe only true jump scare in Ari Aster’s “Eddington” comes right at the start. A barefoot old man trudges down the center of a road running through an empty Western town. He’s ranting and incoherently raving as he climbs a craggy hill silhouetted against a twilight sky. He gazes, or maybe glares, out at the town below.

He's collaborated with everyone from David Fincher to the Safdies, but the Iranian-born cinematographer, most recently of "Eddington," wants them all to feel like family.

At 39, the American director is tapping into a vein of contemporary nihilism, where the grotesque and the outrageous overlap amid the terrifying spectacle of the Trump era.

Ari Aster, the man behind some of Hollywood’s most unsettling films, takes his own anxiety and puts it onscreen.