Midsommar ★★½

Aster desperately attempts to take you on a psychedelic experience with his alarming preposterous imagination, but the trip goes literally nowhere. Midsommar exhausts all its energy in the establishing, yet eerie first act, providing painfully genuine relationships between the characters, the majority of which unfortunately fall into the tropes of the genre this movie doesn't want to be categorized in.

Especially after Hereditary where Aster created all there was necessary to characters and never had us question their relevancy, the characterizations in his latest film were to say the least miserable. Florence Pugh tries to save this lethargic sinking ship with her vigorous performance, but without success as this movie heads towards no man's land after our beloved cast, who can't wait to be killed off, arrives at the shining scenery of the idyllic cult village in Sweden.
The technical aspects of Midsommar are undeniably unique, especially the camera work, but after all they contribute to its sole purpose. Utter disturbance. It builds up with countless ceremonies here and there, characters start to sense the suspicious atmosphere and as the first graphic gut punch lands, there's nothing to back it up. Between all the unoriented, glimmering dancing, walking and talking that cry for tediousness, Aster occasionally gets a hold of himself during his own odyssey through his motley mind and remembers what people are watching his films for as he subtly places scenes with in-the-face gore to get the remaining viewers, who haven't yet drifted off, reinvested.
Are we supposed to marvel at the creativity he brings to the table? No, because it's so twisted that everything seems thrown into your face without hardly any context. Countless ceremony and dinner scenes are so tedious and are there to satisfy Aster's consciousness which in turn didn't appeal to me at all.

Midsommar is a bad drug in disguise and eclipsed by the sheer dominance of his creator's first work.


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