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| Florence Pugh in Midsommar |
Last year saw the directorial debut of Ari Aster with Hereditary. For many, it wasn't just another horror film, but a full-on phenomenon that showed the introduction of a new compelling artist that would take chances and elevate scares and gore into a more thought-provoking look into the human condition. It's hard to deny the impact of the film, which still sends shivers down the spines of anyone who thinks about it. So, how exactly does Aster follow-up a film that resonated as a family drama mixed with some of the most haunting moments of the decade? In a broad sense, Aster has taken his horrors from inside the house he built for his last film and placed them predominantly outside.
Midsommar isn't nearly the wrecking ball that Hereditary was, but that's not from a lack of trying. As much as it feels like Aster is recycling material (symbolic houses, cults, car-related deaths, etc.), it does show an artist continuing to expand his pallet into something even more unnerving and strange. It's a trip to Sweden that goes terribly wrong and finds the travelers facing a series of conflicts that they may not be ready for. Expect there to be some powerful images to grab you by the neck and once again rattle you into submission. However, it's not quite as streamlined or effective this time around, though it's not from a lack of trying. Aster is one of the modern masters of set design in horror, but here's hoping he works more on the story next time.
