Midsommar (Blu-ray) | Award-Worthy Madness from Ari Aster

When I realised that Midsommar was available for Blu-Ray in the UK, I couldn’t resist picking it up. It was easily one of my favourite cinema releases this year, but for some reason, I hadn’t written about the film yet. I looked back on my notes (that have been collecting dust for months) from the first time I watched it, and many of the points still resonated with me after my latest viewing. Some changed. 

During my second viewing, I began to take real notice of minor details that I had previously glanced over, the best example (of which) being the artwork that is displayed throughout the film. Primarily in Dani’s flat, then at various points in Sweden. It is possible to appreciate how the images are used as a foreshadowing device as the characters are inadvertently informed of their untimely fate at the start of the film. This can be seen as the unveiling of Aster’s master plan- where each person has no way to avoid their unfortunate ending. This is where I really began to analyse the film more so than in my initial viewing. This gave me a greater appreciation of the depth of Midsommar; which is itself quite staggering in an age of derivative horror flicks that are based around the occasional jump scare. Midsommar is unlike any film I have ever seen. 

The cinematography in this film is utterly majestic, each scene is crafted beautifully, many scenes reminiscent of picturesque landscapes echoing the paintings displayed throughout. Watching this film in UHD at home is almost as good as in the cinema. I loved the play on reflections in the early stages of the film, these parts divulge the duality of the characters and their development throughout the film. All characters in the film have some form of split personality and this is best personified through the members of the cult. They are very friendly, seemingly normal individuals who drug and kill their bewildered visitors. It is a fresh way of filming and I was in awe of it. The use of symmetry is well-crafted, as are the scenes focused on recreational drugs (trippy flowers and uncanny movements in nature) … which now I’m thinking about it is a lot, maybe too much.

Perhaps one of the only downsides of the film, especially during my second screening, is that I noticed the middle sequences are really quite slow. The film opens to a very tense atmosphere, but it is not until maybe two-thirds to three-quarters way through the film until that same atmosphere is built up again, and when I say built up, I mean it hits you like a tonne of bricks. Aster gives a false sense of security in some of the niceties of the hosting villagers and the shock factor that he uses in this film makes up for a much quieter middle segment. The point still remains. I found myself taking my phone out of my pocket about an hour into the film, as I knew there was ‘nothing exciting’ happening for a small while. Maybe part of the magic of this film is lost after the first time you watch it, which really is a massive shame.

What can I say about the score? Catchy, culty and creepy as hell. That’s one part of Aster’s work that takes a step away from every other horror that’s released- the music he uses. Hereditary and Midsommar both used music as a way of completely consuming the audience whilst setting the tone incredibly well. I’ve never walked out of the cinema with such goosebumps as I did with this film, and that’s partly thanks to the incredible score, one that’s still resounding in my head after re-watching. 

One thing that’s been backed up since my home viewing of Midsommar, is that I’m in no rush to visit Sweden anytime soon. Not happening. Florence Pugh and Co. have ensured that with some capturing performances. Reminiscent of the powerhouse display from Toni Collette in Hereditary, Pugh is brilliant in this film and I’m not surprised by all of the awards buzz.

Midsommar is one of a kind, although I wouldn’t recommend it to everyone. When I went to see it in the cinema about 80% of people were laughing uncontrollably during what I perceived to be very uncomfortable and terrifyingly tense scenes. Many moments in the film took the audience by surprise, and for that, I can understand some nervous laughter. But all that did for me was further confirm how insane the film was. 

If you love Ari Aster and a slow-burning horror/thriller then Midsommar is definitely for you. As fans of both, I cannot sing the praises of this film enough. It keeps you guessing at each and every turn, and even after watching the film again I remember my initial predictions- they were way off and nowhere near as crazy as the ending that unfolded. I believe it is a real contender for film of the year, and for that reason, it’s nearly full marks from me.

Rating: 9/10

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