Midsommar ★★★½

Summertime Sadness is the understatement of the century. This on a whole other scale of disturbed truths. An gives a whole new meaning to the horrors of cultism. Midsommer is a frank and slow build, that kindles like a slow burning fire, where you know it’s going to hell any minute, but continually hold out hope. (There’s no such thing as idyllic perfection and harmony). 

This is the story of how a friendly college excursion abroad goes horribly wrong, but in Ari like fashion the tonal disturbances start long before the main plot line, planting the seeds of destruction and fear. Unlike Hereditary where we only glimpse the impact of a cult, as it shapes the narrative secretly from within, Midsommer instead  wages all its bets in full frontal style, hoping you will be so enraptured that you’ll undeniably believe this is real and possibly start to question your sanity. As Ari masterfully creates suspenseful tension that is unrelentingly unnerving in every frame, playing beautifully against a fatalistic backdrop of serenity and terror. The cinematography is stunning and haunting. What’s strange becomes intimately stranger. What’s detestable is desensitized. Every image a poignant symphony of cues detailing what’s to come. All individuality be damned. This is the hive mind. The ancient way.

An explosive exploration of what constitutes humane conditions and acceptable behavior. While navigating underlying internalized fear and pain within us and the tragic terrain of death and loss.

A consistently  astonishing, unsettling and likewise mesmerizing ballet that’s 
definitely working against Sweden’s tourism industry. An quite honestly I’m still not entirely positive what became of Pugh’s character, but I’m still so disturbed and filled with eeriness that I will immediately be canceling all group activities. Let’s just say if someone ask me to be May Queen I’m out.

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