Midsommar ★★★★½

"Yet my difference is, I never got the chance to feel lost, because I had a family here, where everyone embraced me, and swept me up. And I was raised by a community that doesn’t bicker over what’s theirs and what’s not theirs. That’s what you were given. But I have always felt held. By a family. A real family. Which everyone deserves. And you deserve."

Midsommar (2019) is undoubtedly a unique film. Its premise is daunting, its plot is unheard of and the atmosphere is intoxicatingly tense. Visually, it is gorgeous. The shots taken and colour schemes implemented, notably the contrast of characters against the permeating themes, all contribute to its pleasing aesthetic and picturesque setting. Seamless transitions only add to flavour the film and in doing so, Ari Aster successfully immerses audiences into the world of Midsommar.

If the hypnotic beauty doesn't captivate you, it is certain that the storyline itself will. A credit to Florence Pugh should be given for her phenomenal and gut-wrenching performance, especially in terms of her hysteria through facial expressions and her periods of uncontrollable sobbing. The very beginning of the film already draws viewers abruptly through its gruesome revelation and Aster only continues to hook, line and sinker as the film plays out. It should be noted that Ari doesn't hold back.

Also, I definitely want to point out that the use between diegetic and non-diegetic was extremely effective and should be commended for. The singular moments where there was an absence of music and left with only the sound of, for instance, a glass being clinked was astounding and crucial to adding to the palpable air of trepidation.

I will probably write more on this film as it was simply so jarring and stark, and I just really desire to delve into the gritty and fine details of Ari's work. That, will of course involve spoilers.

jade liked this review