Midsommar

A long-overdue stay in the village of Harga ... and what can I say? It’s great! The best couples therapy / horror about the ultimate evil and a relationship destroyer called a thesis. I've seen a lot of ambitious US horror movies in recent years that were inadvertently funny. What at first glance seems to affect the viewer's psyche as an extract from psychotropic, or perhaps even poisonous mushrooms, in fact resembles, after watching the film, the unpleasant come-down after smoking an excessive amount of marijuana cigarettes, which contain more twigs and other unpleasant ingredients. The film combines ridicule of practices that are common in sects and a bizarrely-constructed drama with the theme of toxic relationships. It works like a anthropological study written in the manic phase. In a year from now, our entire family is going to be dead. Along with Get Out, it’s the peak of the wave of indie horror films. Bye - Ari Zoroaster aka Josef Midsommar. (2019-11-21)

Ari Aster and Jordan Peele are the John Carpenter and David Cronenberg of the 21st Century without question! Midsommar is one of those controversial horror films that isn't very rewarding to viewers and will only please the more discerning and, above all, patient ones, who will, however, be solidly rewarded. The biggest downside is the slower pace (almost nothing interesting happens for the first hour), but from the first "ceremony" the film starts to get more and more interesting and above all disturbing. The whole mythology of the Swedish pagan community is interesting enough, novel and very unpredictable. A big plus is Florence Pugh, who gives a breathtaking performance (definitely the most talented young actress of our time), the music is also perfect, very unconventional for a horror film, but fits perfectly here. There is also very creative cinematography and the absolute biggest attraction is of course the gore, which Ari Aster serves up in such a shocking way that weaker viewers will prefer to give up and leave the film. The ending is typically symbolic and incredibly morbid (I've never seen anything weirder). Slow, creepy, disturbing, shocking, unorthodox and powerfully controversial is what Midsommar is. I liked Hereditary a bit more, but this is also a gem. PS: Those teens that go to the cinema cinema just because they see the horror genre and want to jump out of their seats, they must have been very surprised at what they actually got. 80% (2019-07-09)

Horror subgenres are bound by traditions, and this applies to “folklore horror" even more. It can’t surprise anyone, if we are talking about a movie that is centred around following and respecting traditions, right? Maybe that's why not many filmmakers are eager to make something like this. Because dealing with the fact that the viewer will know “where the movie is going" is certainly not easy. You will not only know it, but you will expect it and maybe even require it. What's worse, you get into a position where you reluctantly expose your work to the  pedestal of cult classics with The Wicker Man at the top. Nevertheless, several good films in this vein have appeared in recent years. Aster's Midsommar is the best of them (although it is paradoxically closer to the new Suspiria than the original The Wicker Man (1973). After all, as with all the best horror movies, “scaring/disturbing" is just a means of looking at ordinary problems. So Midsommar is primarily a chilling psychological study of a dysfunctional relationship/breakup, and what goes hand in hand with that is the fact that this study is disturbing, unpleasant, magnificently shot, enriched with some gore effect and performed in a riveting way. (2019-09-08)

A bizarre mindfuck full of Nordic cults, precise camerawork and a tense atmosphere that gradually builds into an unadulterated inferno. The depiction of violence and murder doesn't matter, on the contrary it is fresh, crisply shot and at times very intense with the help of the music and the skill of the filmmakers. An interesting mix of dark relationship drama, set in even darker interiors and exteriors (the first half), where everyone finds their own thing about both protagonists, and an over-lit feast for the eyes, where everyone is nice before the murders begin. Paradoxically, while the relationship drama has power and tends to emerge from the darkness, the seemingly positive, lavishly photographed natural scenery of the wilderness is full of light, but here the adage that it’s darkest under the candlestick is doubly true. Bold filmmaking that hasn't been here in such a form and with such a unique directorial style for a long time. (2020-06-28)

Is it a horror film or is it not a horror film? The short answer is yes and it is damn good. For the long answer, we must first define what a horror film is. Horror movies are not made up of scares (the best ones do not have any at all) or the supernatural (a full range of great horror movies get by without it), and even gory scenes are not unconditionally necessary (as Poltergeist shows). When we come to the full essence, we reach two parallel paths, where one follows the effects on the audience and the other the internal principles of storytelling. On the first path, together with the greats of film criticism and theory, we find that horror is a genre that evokes intense responses in viewers in accordance with the depicted scenes. Linda Williams’s legendary essay likens horror to porn and melodrama, where viewers also observe certain situations that are supposed to elicit their directly proportionate physical response in relation to a given bodily fluid (blood, semen, tears). On the other path into the inner workings of horror stories, we can get to the very essence of horror, which consists in the fact that certain elements penetrate the characters’ inner or outer world, disrupting their deep-rooted values and certainties, which suddenly cease to be valid and the characters have to come to terms with that. The intrusive element may be a serial killer who turns a peaceful suburb into a nightmare or ghosts who turn the characters’ home into a place of life-threatening danger. Besides all manner of classic horror movies, both of these stripped-down definitions can also apply to films that are otherwise assigned to absolutely different categories, from brilliantly disturbing thrillers such as The Hitcher to Ingmar Bergman’s agonising psychological dramas, particularly Persona and Cries and Whispers. Ari Aster took a similar path, whereupon he shot one of the most physically intense and most suggestive horror films of recent years, which thoroughly disturbs the audience by confronting it with a world where completely different values apply and where the most frightening thing happens in broad daylight and inside the main character. Furthermore, Midsommar has phenomenal camera work and dramaturgy, reinforcing the concise vision. After Jordan Peel, we have another significantly distinctive talent who shows us that horror does not have a single universal form, but can rather be a space for original creative realisation. (2019-07-28)