I watched Midsommar and I liked it. 3/5
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Ari Aster’s Midsommar is a film that bathes its horrors in the blinding light of day. Unlike conventional horror, which often relies on shadowy corners and dark alleys, Midsommar exposes its terrors under the unrelenting gaze of the sun. The result is a visually stunning yet deeply unsettling journey into the heart of a pagan commune.
From the opening frames, it’s clear that Midsommar is a meticulously crafted piece of cinema. The cinematography is nothing short of breathtaking, with every frame drenched in a warm, golden glow that belies the darkness lurking beneath the surface. The juxtaposition of the idyllic pastoral setting with the mounting sense of dread creates a unique and captivating visual experience.
Florence Pugh‘s performance as Dani is the emotional core of the film. She navigates the complexities of her character with a raw vulnerability that is both heart-wrenching and powerful. As a young woman grappling with immense loss and trauma, Pugh’s portrayal is a tour de force of emotional range. The pain and isolation that radiate from her character are palpable, drawing the audience deeper into the heart of her unraveling psyche.
The supporting cast, particularly Jack Reynor as Dani’s emotionally distant boyfriend Christian, deliver performances that add depth to the film’s exploration of deteriorating relationships. The dynamics between the characters are fraught with tension, jealousy, and a growing sense of unease. The film deftly navigates the complexities of human connection, highlighting the fragility of bonds in the face of overwhelming darkness.
Midsommar is a slow burn, allowing the tension to build gradually over its runtime. Unlike traditional horror, which often relies on sudden shocks, Aster opts for a more methodical approach. The horror emerges from the rituals and customs of the commune, which become increasingly bizarre and disturbing as the story unfolds. The sense of foreboding is palpable, creating an atmosphere of impending doom that hangs over every frame.
The film’s exploration of pagan rituals and traditions is where Midsommar truly shines. Aster weaves a rich tapestry of folklore, drawing on real-world practices to craft a mythology that feels both ancient and unsettlingly relevant. The rituals are depicted with a meticulous attention to detail, immersing the audience in the intricacies of the commune’s beliefs.
However, Midsommar is not without its flaws. The deliberate pacing, while effective in building tension, may test the patience of some viewers. At times, the film teeters on the edge of self-indulgence, with certain sequences bordering on excessive. Additionally, some may find the film’s conclusion divisive, as it eschews traditional resolutions in favor of a more ambiguous, open-ended finale.
In conclusion, Midsommar is a visually stunning and emotionally resonant entry into the folk horror genre. Ari Aster demonstrates a mastery of tone and atmosphere, creating a film that is as beautiful as it is deeply disturbing. Florence Pugh’s powerhouse performance anchors the narrative, while the supporting cast adds layers of complexity to the film’s exploration of deteriorating relationships. While it may not be for everyone, those willing to immerse themselves in the sun-drenched horrors of Midsommar will find a film that lingers long after the credits roll.