Midsommar ★★★½

I can’t work out who is smashing it more this year, Jodie Comer or Florence Pugh - both are having stellar years, albeit on different mediums. Aster has said in interviews this is essentially a break up movie, Mark Kermode said similar in his review, & at its core, it’s that & the emotional weight of Pugh’s character etched on her face which resonates through the impending dread that constantly permeates this film. 

With Swedish set, Hungarian filmed Midsommar, Aster continues his tracteory as one of the most interesting film makers of today - delpting a kaleidoscope of vivid yet errie colour spectrum underlayed by the constant summer daylight, slow tracking shots that worked so effectively in Hereditary, a goose pimple inducing score & a slow burn of an increasingly strange & bizarre setting, with creepy rituals that envoke shock, horror, but most surprisingly of all, laughter. 

A little too bizarre for me to truly enjoy (Toy Story 4 this firmly ain’t), but definitely one I will be thinking about for a while owing to the sheer power of its constant creepy imagery.

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