Midsommar

Midsommar ½

“At the same time everyone unknowingly becomes accustomed to the horror, which little by little is accepted by morality, and will quickly become part of the mental landscape of modern man; who, the next time, will be able to be surprised or irritated at that which will in effect have ceased to be shocking?

Throwing at the audience his lack of respect and disdain of empathy to our nature as we watch two unsuspecting deaths— a scene so nihilistic. Not to mention that the film starts on a similar note.

The explanation Aster gives of this movie being an allegorical “breakup” collapses in on itself. As much as that subtext is written (and believe me it only goes so far) his images speak a different language. A reviewer for The Wrap calls the final image, “liberating”. How offensive it is to use that specific word. Somehow I find support from a reviewer for The Washington Post (of all places) that says,

“What might have been a chilling modern allegory about betrayal and mistrust instead blurs into something inert, fetishistic and hysterically pitched, with Aster more interested in manifesting his own elaborately sadistic visions than in homing in on genuine meaning.”

What didn’t work for Hereditary finds itself amplified in Midsommer. While some deranged audience members might find “freedom” in the last image, I say it’s the exact opposite. It’s the celebration by a self-righteous director of a perverted view of “freedom” one that actually imprisons the soul.

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