Ari Aster is vying to be the new M. Night Shyamalan. He’s written and directed two unorthodox styled horror movies in the past two years, with his 2018 debut “Hereditary” followed up a year later with “Midsommar.” I reviewed “Hereditary” with mixed thoughts. I found the filmmaking aspect stellar, with great and subtle parts of horror overshadowed by a lackluster story and brutal ending. Still, I was excited to see what the rising filmmaker would come up with for an encore.
“Midsommar” tells the story of a group of college friends who travel to a remote commune in Sweden to observe a centuries old festival that occurs every 90 years. We specifically follow the character Dani, played by Florence Pugh, who goes through an incredibly tumultuous journey along the way. Dani suffers a horrific tragedy at the films onset while balancing the negative emotions of a toxic relationship with boyfriend Christian (Jack Reynor) and has the most terror infused time amidst the remote Swedish countryside.
Welcome to Sweden
Florence Pugh is the star of the show, and manages to dominate every scene she’s in with an effortless ease. Dani is an emotionally charged character that deals with anxiety issues and depression, and Pugh makes these deep rooted problems come to life. Not only do we feel for the character of Dani, we feel the events of the story through her, and it’s a wonderful thing. She’s able to play the role of an emotionally scarred woman with incredible accuracy.
The other characters are fine in their respective roles, with Jack Reynor doing a good job of playing an aloof and somewhat off-putting boyfriend. Great writing allows the viewer to see that Christian isn’t just a standard jerk, he’s got his own problems and while may not deal with them the way that he should, the character has some depth and redeemable value. The group of friends are complete with William Jackson Harper as Josh, Will Poulter as Mark who offers some good comical moments, and Vilhelm Blomgren as Pelle, the Swedish-born friend who initiates the journey to the festival.
Jack Reynor and Florence Pugh in “Midsommar”
Aside from Florence Pugh, Ari Aster is the other star of the show. From a technical standpoint alone, Aster can make a movie. His use of great colors, constant symbols, and strong visuals lead to a near perfect bit of cinematography. His editing is remarkable as well. Scenes cut abruptly but transition seamlessly. The score works well with the story, and equally effective is his use of silence. And his framing is on par with the best of the best Characters deliver dialogue on reflective surfaces, or in a way that highlights something in the background of note, reminding me of Hitchcock, Peele, or Shyamalan in style.
The movie is one of psychological terror that hits with its slow burn. The characters are often inebriated, and we the viewer get to feel the effects of hallucinogen drugs that are consumed. This facet also leaves us wondering if what we are witnessing is actually happening, or just a result of the drugs. Aster doesn’t have jump scares, or slasher killings. Rather, he includes a handful of unsettling moments, scattered throughout. The festival occurs during the midnight sun, and nearly every scene is shot in broad daylight, strange for a traditional horror movie but highly effective here.
My gripe with “Hereditary” was the ending, and, while Aster is getting better, I found the final act of “Midsommar” to be the weakest part of the film. There’s some really gruesome imagery and some downright WTF moments. It’s a horror movie that isn’t scary, but one that will leave you thinking about its affect.
I haven’t decided if I love him or hate him. But I definitely want to see more.
