Jason Linsel’s review published on Letterboxd:
“The feel good movie of the sommar!”
Ari Asters second feature, Midsommar, is a tense & disturbing horror that crawls into your subconscious with a mesmerising and perversely twisted take on loss, mental illness & betrayal seen through the prism of a cathartic and sadistically distorted fairytale.
I didn’t find it half as horrific or unsettling as last years Hereditary, but Midsommar is a much more cinematically ambitious film that feels like a step up in almost every way. I really appreciated its slow and methodical approach that let every moment breathe alongside it’s persistent use of daylight, which helps to add to the films constant sense of unease.
This works exceptionally well when our characters arrive in Sweden and the camera begins to flow in an almost hallucinatory fashion, presenting us with beautifully directed long takes and wide pans that give the Swedish landscape an otherworldly presence and the sense that it’s actually alive and an active participant in everything that unfolds.
Every shot is exquisitely precise and the performances are absolutely mesmerising. Florence Pugh in particular shows that she has a huge range and right now she’d be my pick for next years Best Actress Oscar.
By and large, Midsommar is a breathtaking and extremely memorable film that grabs hold and doesn’t let go until the credits roll. It’s a cinematic experience that I’ll remember for a very long time to come and I really can’t wait to see the extended cut in a few months time.