Midsommar is defined as “...the period of time centered upon the summer solstice, and more specifically the northern European celebrations that accompany the actual solstice or take place on a day between June 19 and June 25 and the preceding evening.” Ari Aster’s 2019 hit depicts events of this sort and drags audiences deep into the nuances of European culture, and even further into the depths of the human mind.
After the tragic loss of her sister and parents, Dani Ardor (Florence Pugh), travels with her boyfriend Christian (Jack Reynor), and his friends, to visit a small town in Sweden during its eccentric midsummer festival. As they arrive and begin to partake in some of the less-than-recommended activities suggested by Swedish natives, things begin to turn dark. Dani and her group of friends are subjected to a twisted journey of horror and violence. As they are pulled deeper into the activities of the festival they come to understand that their journey to Europe may have been a mistake, and they must find a way to remove themselves from the increasingly hostile culture in which they have become a part.
Florence Pugh was part of thirty-three nominations for Ari Aster’s Midsommar. Her talent as an actor shined brighter than most in the past year. The recognition that she received for her performance here was, without a doubt, justified. The film’s emotion is raw, and it is clear that the actors chosen to take part in this film were perfect. Reynor, Will Poulter (Mark) and William Jackson Harper (Josh) are talented and are without fault throughout the course of the film, but it is Pugh that takes the cake and allows audiences to appreciate the film. Her simplicity and her beauty wash over viewers and draw them in. They are forced to watch her as she navigates the unique grounds of the Swedish midsummer festival. Men are attracted to her beauty and women to her courage and strength throughout her hardships, making her the perfect casting choice by casting directors Jessica Kelly and Jeanette Klintberg. She appeals to a wide range of audiences, and this opens the film up to a greater potential for success.
The story of a demented summer festival in an unfamiliar corner of the world has the potential to be a lot of fun and find success among audiences. Aster, however, creates a world in which things move at the pace of a snail, and, ultimately, leads to a dead end. Inch by inch the characters moved closer to either liberation or death (or both depending on how you look at it); they created unique and unfamiliar bonds with their hosts and grew further from their loved ones. The lives of many hang in the balance as Dani and her cohorts start to suspect foul play among their new acquaintances. As each minute passes, the inevitable becomes more and more clear, yet, in the closing moments of the story, everything is flipped on its head and leaves audiences in a pit of unknowing. Audiences are essentially traveling nowhere and they are entirely unaware until the film reaches its conclusion.
Midsommar is nothing short of a brain scam that leads audiences down a road of despair. The unknowing nature of the films lends itself to good cinema, however, a mystery flick needs to have a reveal that makes it worth the wait. The juice is not worth the squeeze as Aster’s script is empty. For more than one hundred and twenty minutes, audiences feel that they are part of a dynamic story with a large payoff; they could not be more wrong. The story is engaging enough (even at its sometimes unbearably slow pace) to keep audiences attached. The formidable acting allows audiences to appreciate even the slow moments. However, the disappointing end to the twisted story leaves audiences feeling that they are being robbed of their time.
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