Midsommar - Movie Review

The movie revolves around Dane and Christian who go to visit Sweden for the purpose of a music festival in an enclosed village. The film shows that what perhaps appears perfect in the near future becomes atrocious, revealing the concerning practices originating from the pagan cult. Its mood changes from ethereal picturesque to sadistic terror, forcing the viewer to watch uncomfortable scenes.

Florence Pugh can be considered as the main character Dani, her performance is powerful and filled with emotion. Her portrayal captures the film’s crux: a process of transforming from weakness to disturbing regeneration. Impeccable supporting cast helps but the main discovery here is Pugh.

Despite its methodical pacing, Ari Aster sets up the delicate jigsaw of grief and horror involving fine details of the latter convoluted into the former. There is something refreshing in his approach to the horror genre, the cinematographic setting he choses is daylight horror contrary to the majority of horrors.

The sound by Bobby Krlic (The Haxan Cloak) accompanies the cinematographic vision with a beautiful folk melody on acoustic guitar and very disturbing off with the screams of Dani and the harmony of the cult, ordinary and deadly at the same time.

The performances are enhanced by the nice work of The cinematography delights the audience with wide shots of the environment and close-up shots that increase viewer discomfort.

While production design relies on the motifs of pre-Christianity, it builds a vivid and somewhat idyllic background that deceives with its beauty and does not betray the darkness of the rituals. Even the approach to built environment is both gorgeous and scary at the same time.

Finally, as far as the spectacular effects of the film are concerned I will note that they are more architectural and are used sparingly and to the extent to allow a realistic terror. If employed, they reinforce the horror while not displacing the tale.

Scott’s editing by Lucian Johnston and Jennifer Lame correctly ensures the film’s 2 and a half hours running time is warranted. Each shot has a potential and threaded with the progression of building suspense till the climax.

While watching Midsommar, one knows they are in for a nerve-wracking experience whenever the sundowner community is shown but not quite how disconcerting their world is. The slow progression is vital for its horror theme to sink in.

Aster once again showcases poetic mastery through the realistic dialogue given by him making the characters develop further and create the tension under the surface. Discourse brings nuances in the connection and guarantees that words, as visual, construct horrifying narratives.

Despite the fact that Midsommar presently seems to be one of the best current horrors, its tempo may be monotonous to a number of individuals. A plus is when its complex plot adds intensity while a negative is when it often makes some scenes and characters’ fates unclear, which can be annoying if viewers are looking forward to seeing characters get their comeuppance. Sinematica and, backed up by the empowering and restraining performance of Florence Pugh, it underlines a potent cocktail of enchantment and horror that does not take its final bow easily.