Midsommar — Review
This review was originally published on Cinemusings on June 26, 2019
Source: A24
Ari Aster’s Midsommar isn’t as frightening as his feature directorial debut, Hereditary, but it’s still a solid sophomore effort from an indisputably talented filmmaker. Midsommar is much funnier and far more absurd than its predecessor, but it’s also way less accessible. Whether audiences love it or hate it, there’s no denying that Midsommar is a bold follow-up for Aster.
In a recent issue of Fangoria, Aster describes Midsommar as “a breakup movie dressed in the clothes of a folk horror film.” Although a dying relationship is the core conflict, the film expands upon the traditional notion of a breakup movie by telling a story about rebirth and letting go of the past. While it does have a folk-horror vibe, it feels more like an amalgamation of dark, absurdist comedy and creepy, cerebral horror.
Source: A24
Florence Pugh has already demonstrated her phenomenal acting skills as the star of Lady Macbeth and this year’s Fighting With My Family. Midsommar is yet another showcase for her incredible talent. She’s a revelation in the lead role of Dani, an American college student whose relationship is falling apart.
Dani’s boyfriend Christian (Jack Reynor) has been on the verge of ending their relationship for a while. Christian vents about the relationship to his friends Josh (William Jackson Harper), Mark (Will Poulter), and Pelle (Vilhelm Blomgren). Mark even asserts, “You’ve been wanting out of this stupid relationship for like a year now.” Unbeknownst to Dani, Christian and his friends have planned a trip to Sweden for the summer.
When tragedy strikes, Dani is an emotional wreck. As a result, Christian decides to hold off on ending their relationship. But even when he attempts to comfort her through her grief, he just comes across as cold and distant toward her. It’s evident that he’s not fully there for her emotionally.
Dani overhears the guys discussing the trip to Sweden and eventually Christian invites her to tag along in hopes that she’ll say no. But after dealing with a traumatic loss, Dani doesn’t have much else going on in her life so naturally, she says yes. The group heads to Hälsingland, the small community where Pelle is from. Their timing couldn’t be more perfect because they’re arriving during midsummer and get to witness a nine-day festival that only occurs once every 90 years. Hälsingland might be full of bright sunshine and colorful flowers, but it’s clear that things are about to take a very dark turn.
Source: A24
Horror films are typically set at night and in dark environments because it’s easy to scare people when they don’t know what’s lurking in the shadows. But Midsommar is quite possibly the brightest film to ever be labeled as horror. Aster proves he has a gift for conjuring up creepy imagery and he doesn’t need a dark color palette to do it.
The story isn’t for everyone, but one thing’s for sure: Midsommar is a beautifully-crafted film. The combination of Pawel Pogorzelski’s cinematography and Lucian Johnston’s editing is absolutely mesmerizing, with remarkable use of overhead shots and match cuts. The production design and costume design are also impeccable. The film is gorgeously shot, but it’s also packed with plenty of horrifying and grotesque imagery to balance things out. Midsommar is definitely not for the faint of heart.
If viewers walk into Midsommar expecting a horror movie, they’re sure to be disappointed. The film is not without its fair share of chills, violence, and gore. But to call it a full-blown horror movie seems a tad misleading. The film is more creepy, disgusting, and disturbing than it is scary. There are also a lot of darkly comedic moments. It’s a film so drenched in dread that the absurd humor will probably catch many viewers off guard.
Most of the performances in Midsommar are worthwhile, with Pugh being the obvious standout. There are many close-ups of her face and she’s capable of expressing countless emotions without even uttering a word. Viewers will be able to feel the anxiety and sorrow right along with her. Reynor’s performance is underwhelming, but that could be attributed to the fact that his character feels underwritten.
Midsommar is definitely a slow burn, and the film would have benefited from a shorter runtime. But the buildup of suspense is captivating. The first half is much stronger than the latter because once the film shows its cards, the shocks don’t quite land as hard as they should. As contradictory as it sounds, Midsommar manages to go completely off the rails while still feeling weirdly predictable. One of the biggest complaints about Hereditary was that it didn’t stick the landing, and that could be a criticism of Midsommar as well. Despite having a hauntingly unforgettable finale, the film’s length gives viewers too much time to recognize where the film is headed long before it gets there.
Ultimately, Midsommar is an acquired taste and most likely won’t appeal to mainstream audiences. The film is unsettling but also oddly funny and features yet another magnificent performance from Florence Pugh. It’s a surreal and dizzying experience with hypnotic camerawork and an eerie score from The Haxan Cloak. A breakup may have been the focal point, but Aster’s film delivers an enthralling statement about sacrifice and the cyclical nature of life. Midsommar is a totally twisted fever dream even if the narrative leaves a lot to be desired.
Midsommar hits theaters on July 3, 2019.
