Midsommar [2019] – ★★★★★
☀️ In this immersive, subtle and unsettling horror master-work, Ari Aster takes his audience by the hand, and slowly and surely introduces the disturbing beneath the festive, relaxing and innocent.
Ari Aster takes horror to a completely new level in his latest film Midsommar. Inspired by The Wicker Man and horror folklore, this film tells of Dani (Florence Pugh) who reluctantly decided to accept an invitation and go with her boyfriend Christian (Jack Reynor) and his friends to a festival that celebrates a midsummer in Hårga, Sweden (originally, the Midsummer Festival was a pagan holiday to commemorate the arrival of summer). On location, the unsuspecting group of friends slowly become immersed in the odd ways of life of this rural village in Sweden, discovering its strange residents and their disturbing rituals. Welcoming and friendly villagers are only too happy to show their visitors around, as well as introduce them to their traditional midsummer celebration, but will our group of friends (as well as we, the audience), stomach what the villagers are preparing for them and presenting on their silver plate? In this gripping, “hallucinatory” film, the audience soon discovers that, for emotionally-vulnerable Dani, the stage has already been set for a showdown of her life.
Midsommar has the same plot structure as the director’s previous film Hereditary (2018). The story starts innocently, paying attention to the female character, before progressing to display sporadically some shocking scenes, which play out in one truly unsettling atmosphere, with the final twenty or so minutes of both films containing scenes where “all hell breaks loose”. Magnificent Florence Pugh (Lady Macbeth (2017)) gets into her character Dani, a girl who craves connection and understanding after just experiencing a traumatic life event back home. Dani’s distant boyfriend Chris, a student of anthropology, provides little relief, and she feels distant from both Chris and his friends. Then, Dani’s hopes begin to be pinned on a festival in Sweden, during which she hopes to forget all her trauma and anxieties, and to recover mentally. Little does she suspect that she is about to undergo “a therapy” like no other. In a “slow-burning”, suspenseful fashion, Ari Aster ensures that it is both scary and fascinating for his audience to step into this world of odd traditions and macabre celebrations, into a place where the sun hardly sets, and where the idea of communal living is taken to a whole new level.
Ari Aster is a clever director. It is true that Midsommar relies on outrageous displays to produce a reaction, but there is much subtlety in this film as well. The true horror in this film comes not from some shocking scenes, but from the main character’s slow realisation of the danger which until now has been cloaked in strangers’ goodness and friendliness. Chris and Dani’s Swedish friend Pelle is one of the members of this strange commune and, if they trust him, they should trust all the others. Even when Chis and Dani cannot find some members of their initial group, there are no alarm bells immediately ringing. Chris also has a professional/academic interest in the activities of this village since he wants to pen his PhD dissertation on village activities. From the “innocent” taking of magic mushrooms to the witnessing of a cold-blooded murder, the director would like to explore what impact some “celebratory” and ritualistic activities presented have on the main characters – as well as on us – his audience – since this film is a very immersive experience ,which will not leave anyone indifferent to what takes place on screen.
The power of a cult, brain-washing, psychological “meltdowns” and disturbing sexual rituals…all this means the film is not for the faint of heart. Unapologetically long and uncomfortable to watch, Midsommar can even be viewed as a barely perceivable allegory in which a person tries to distance herself from one unhealthy relationship; overcome grief; and to reach higher levels of self-awareness/discovery.
Another notable feature of Midsommar is how immersive the film really is. In a way, the audience is invited “to participate” through the film visuals being tweaked giving the appearance as though we, as well as the characters, have drunk a concoction laced with hallucinatory drugs. The cinematography of Pawel Pogorzelski is stunning, and it is quite impossible not be in love with each and every shot in this film. A colourful palette of blue, green and white gives the effect of stepping into a fairy-tale that just about to take on more grotesque and macabre contours.
The ending of Midsommar is as revealing as the one in Hereditary, and there is a similar stark contrast between the beginning of the film and its end. The jokes that we see in the beginning coming from Mark (Will Poulter) seem shockingly out of place in the final part of the movie, and Midsommar suddenly appears far from a romantic drama it seemingly aimed to be at first. In the end, it feels like the world, one’s perception of it, has changed in the process, values have been reversed and everything has been turned on its head. If in Hereditary this “change” is coming too abruptly and events that follow are too unbelievable, in Midsommar, it was all strangely convincing. Perhaps, as in Rosemary’s Baby (1968), the events that start to take place at the end of the movie are so horrific in their unbelievability, that, quite paradoxically, they can only be “true”.
Midsommar is a horror film executed to perfection. Its visual brilliance is matched by its macabre atmosphere and gripping, even if slow-coming, turns of events. The visionary director immerses us into one reclusive community whose celebration is at first a feast for the eyes and later – a conglomeration of disturbing elements. Florence Pugh’s committed performance ensures that Midsommar is a truly insane ride into the dark recesses of society where one could find hope only at the cost of losing everything. Shocking, provoking, but also deliciously “hallucinatory” and mesmerizing, Midsommar just needs to be seen to be believed, being one of only a few films out there which can be equated with having an experience.
Spotlight on Film 
High praise indeed! Will defo try and see this. Whenever i see Florence Pugh I’m always confident.
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Well, yes, this movie was simply my cup of tea and it ticked all the boxes for me. I enjoyed it immensely, but given its length and some elements, I understand the contrary view, too.
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😃😃😃
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Pugh surprised me here. Because prior to this movie, I’ve seen her only on “Malevolent” and that was a horrible movie. I was pleasantly surprised by her range, particularly the accuracy of her character’s anxiety attacks.
I think this is stronger than “Hereditary” exactly because the ending worked for me here. Although the all-hell-breaks-loose approach is similar, to me, it is more fitting here. However, on Aster’s next work, I hope he changes it up. I don’t want him becoming a one-trick pony.
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I have not seen “Malevolent”, but Florence Pugh blew me away in “Lady Macbeth”, so I knew that at least acting in “Midsommar” will be of the highest standard.
I completely agree on the ending to “Hereditary” and for me too the “Midsommar” ending worked better. Looking at it as a whole, it is as though Aster did his homework after “Hereditary”, evaluating what worked and not and produced this “perfect” film, but done in his own style, of course, which may not be to everyone’s taste. And, yes, let’s hope Ari Aster does something different next time!
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Hereditary only half worked for me and given the mixed reviews and length of this film, I’ll wait for the DVD release. Nice write up though! 🙂
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Thanks! You made the right decision then if you did not like Hereditary that much. I definitely will buy a Midsommar DVD. Regarding the length, I guess I just did not care because I wanted to be inside that weird village for as long as possible!
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Great review. I really liked Pugh here, but honestly Aster lost my in the final act. I felt he pushed things way over-the-top and really went for weird and shocking over storytelling. It’s a shame because I loved SOOO much about the film up until that one crazy point (which I won’t spoil).
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Yes, many people said the same thing about Hereditary’s final act, too. I guess after Hereditary I expected something like this in Midsommar and was actually looking forward to it. Like Franz said above, I thought also that over-the-top sequences were somewhat fitting. I agree though that they were very different from the rest of the film.
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Wow! A perfect score! What a great review. I will have to wait to rent it, but I think you are smart and I generally agree with your takes on films. Something to look forward to. 🙂
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Thank you! I thought it was a very well-made film and regarding my score, I guess it aligned perfectly with my own interests too: cults, ancient rituals – I was entranced 🙂
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Well written review. Yep, Dani’s “therapy” is like no other 🙂 I agree about the “participation” aspect of the audience and realism compared to Hereditary, although I’m in no hurry to rewatch Midsommar due to the uncomfortableness.
I wonder how much sleep deprevasion from the daylight plus being in the communal room with crying babies affected the characters’ decision making. Some took sleeping pills, others did not I guess. Pelle is so nice it’s scary.
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Thanks! Yes, I think the main characters must have lost touch with reality due to the factors you mentioned and also being forced to view pain and death inflicted on others – it psychologically changes one.
I tend not be harsh when rating horror – like comedy it is difficult to produce quality because unlike drama or thriller, people have certain preconceptions and are expected to be scared. Six years ago I was reviewing only James Wan’s films and everyone moaned how we only have old movies, sequels and remakes in the horror genre. I guess I am just grateful that the tide is turning for horror and we now see such names as Jordan Peele, Ari Aster and Robert Eggers, who, through their work, say that horror can also be an excellent quality film and not just a ridiculous flick.
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Hello. Quite disturbing indeed and you are right that it can be equated with having an experience. Perception is the key word for this movie since Aster really tries to change the perception of the audience through his direction just like Dani’s. Too bad that the secondary characters are jerks who are not really fleshed out (serving as counterpoints for Dani really) as if they were just in the movies to be killed (as is the case in many horror movies)
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Thanks for your comment! I have to say you have an amazing film blog. I love to read your critique of Tarkovsky, Chabrol, etc. and works of American directors too – love the diversity. You taste in books is as superb. My French reading skills could have been better, but I understand a fair amount.
Yes, I agree about the secondary characters in Midsommar. But then again, there was still an attempt felt to make something out of them – for example, I enjoyed and remember all the humour coming from Mark (Will Poulter) and we see some personality of Josh (William Jackson Harper).
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Thank you very much! I just try to reflect the diversity of cinema and I see that you do the same on your blog. I can read English and your reviews are pretty good.Yes, there is humour coming from Mark, but not because he is funny. He is a horrible human being and you guess from the beginning that he will be the first character of the group to be killed.
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I love the diversity of cinema and French-language films in particular hold a special place in my heart. And English is not my first language either. My native language is actually Russian. And, I guess, I am a bit ashamed that I am not reviewing films by Russian directors more on my website. Hopefully, I will be reviewing Tarkovsky’s Solaris on my blog too this month. Though it is not going to be an easy review to write at all. And, yeah, you are right about Mark from Midsommar.
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Interesting. Yes, it is not easy to review Tarkovski’s films. I have reviewed three of his films so far (Andrey Roublev, Solaris, Stalker) although I’ve seen them all. I will read with interest your review of Solaris.
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I watched this recently even though I really don’t like horror and gore films, just as you said 10/10 an absolute masterpiece thanks for the recommendation
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I am glad you loved the movie! I thought it was very well done with a powerful ending.
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Yes, definitely 👍 I really loved this post-analysis of it https://youtu.be/gr2j0o_B2mw
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Thanks for sharing the video! Your comment somehow ended up in my spam folder. The video is both very illuminating and thorough, but simplifies certain things maybe ever so slightly. I am very surprised that many people found the ending to be a happy one and even smiled themselves at the end. I had different, more mixed feelings. Considering one idea from the video, it now appears to me that one of the points was also to show some kind of a disturbingly-achieved “female empowerment”: letting go of one’s identity, past, material possessions and unhealthy relationships, etc. similar to supposed “male empowerment” ideas that so many fans worship to the present day in David Fincher’s film Fight Club, which also references cults, terror, violence and finally “final freedom” achieved through taking one drastic, eccentric action, while, naturally remaining part of a strange community (a fight club). Both films also end in this catharsis.
Chris above shared with me some months ago this link which aims to explain the paintings in the film and I think you may also find it interesting: https://www.polygon.com/2019/7/18/20696442/midsommar-paintings-art-spoilers-a24
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No worries about the spam folder…same thing happens to me quite a bit 🙂 Yes the analysis was shocking in its assessment, surely people didn’t see her smile at the end as being a ‘happy ending’, how someone could draw that conclusion with the horrific events going on in the barn, it just boggles the mind hehe. Yes the female empowerment angle was also a massive stretch of imagination for me too, it also sort of insults women. In that it’s implying if a man slights or betrays a woman, we (all women) would be happy to see a man face a violent death….so ludicrous, this conclusion. There are parallels with Fight Club for sure, the descent into a tribal, cult-like world and crescendo of violence, really this film is a masterpiece just like Fight Club. There is another film Dead Man which has some occult and shamanistic themes in it too, it reminds me of this, another great film. Will check out this link thank you 😊
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I agree with everything you said and will seek out Dead Man, thanks. Jim Jarmusch is another eccentric director with a very curious list of films.
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Ooh you haven’t seen it? You are in for a treat 😀
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I can’t wait, then! 🙂
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https://youtu.be/9G0cwiMA4d0 😉
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Thanks a million! x
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The best films are those with a totally ambiguous and yet powerful ending like this…trying to think of a few more but none come to mind right now. Might be a good one for a film list…best haunting and ambiguous endings in films, but may have to give away some spoilers to do it hehe
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Yes, I love ambiguous and powerful endings too. Audience is then given a chance to become imaginative too and interpret something for themselves. The whole film can become more personal too on that basis alone. It suddenly occurred to me that Shame (2011) is just that film with that ending. When the ending comes, we just don’t know whether the main character will resume his previous life-style or will have the willpower and stop since he learnt something from his mistakes. And, of course, Inception is known for its ambiguous ending.
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Yes, I agree, it is a very personal experience relating to the film when it has an ambiguous ending 🙂 Shame and Inception two great examples of an ambiguous and interesting ending. You may be able to do another blog post out of this for your movies lists hehe. Another one with ambiguous endings (if I remember correctly) Krzysztof Kieślowski’s Three Colours Blue. I guess ambiguous endings can also be frustrating if they are not done in the right way, but Midsommar wasn’t frustrating I found 🙂
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