Dir / Scr: Ari Aster. USA. 2019. 140 minutes
"Stop it, you feel good" Midsummer character desperately tries to tell Ari Aster's second function – which, as his debut Hereditary is a portrait of sadness told by fear. But her pep speech is careless for the terror waiting for her and the audience. Sometimes hypnotic, sometimes overcooked, always exciting, Midsummer looking scary which is surreal and demented, takes us to a strange rural Swedish community where many bad things come with the utmost certainty. Asters bold flourishes sometimes fall, but Florence Pugh keeps the movie together – especially when its plotting stumbles or its shocks become predictable.
Aster has created such a stimulating assumption that it floodes the viewer with incredible possibilities for what can follow  Arriving in the United States on July 3 and Britain on July 5 Midsummer may have trouble matching heritage s global gross of $ 79 million. Although there is a great interest in art house masses, this intentionally outrageous and odd offer could scare off ordinary audience groups, which will make strong reviews increasingly important to run business.
Pugh plays Dani, a young woman struggling for depression who, as Midsummer begins, is destroyed by a family draw. Unbeknownst to Dani, her lookout boyfriend Christian (Jack Reynor) believed she would break for this tragedy, but now he feels obliged to stay a little longer with her while working through her grief.
Reluctantly Christian accepts to let her accompany her friends – studious Josh (William Jackson Harper) and immature Mark (Will Poulter) – as they dare to a small Swedish village with their classmate Pelle (Vilhelm Blomgren), who wants to present them for his family's ancient rituals. The Americans see the trip as an exciting holiday, but soon they are sucked into a ceremony they cannot escape.
Hereditary Midsummer is the story of a traumatized woman, alienated from the world, who may be in great danger. But where the 2018 movie delivered many jolt at night, Aster's new horror movie takes us on kojik to Sweden during the summer, when the world's corner is bathed in eternal sunlight. Working again with film photographer Pawel Pogorzelski, Aster crafts a bright, idyllic forest landscape that quickly turns out to be unpleasant – the wonderful sunny setting highlights the barbaric violence that follows.
On the one hand, Aster has created such an evocative premise that requires thinking of past horror films about cultures and pagan ceremonies, that it overwhelms the viewer with incredible possibilities for what can follow. But on the other hand, Midsummer raises expectations as it sometimes fails to satisfy. Terrible things are in store, but with some remarkable (and wonderful chilling) exceptions, they often play out in the usual alarming way. Unsatisfactory, Aster leaves intermittent narrative logic to move his characters with awesome surprises that are not very careful.
As a result, it is probably best to embrace Midsummer as a hyperbolic, relentless exploration of toxic masculinity and loss, with Pugh as our emotional anchor. The young actress, who is amazing in everything from Lady Macbeth to Fighting With My Family delivers a smooth performance that requires her to go big during the movie's frantic later episodes. Before that, she gives us a Dani who is so beaten by her family, woes and unromantic boyfriend that she will expect very little from anyone. Consequently, Dani is almost fatally passive and apologetic, constantly scared of the feelings of others that she never considers herself. The Catholic Terror of Midsummer is in some way an external expression of the stuffy rage and helplessness that cures through Dani, and Pugh's expert articulates this confusion and anxiety.
Aster has such a dim view of Danis male comrades that the characters feel a little signed. Reynor is convincing as a callow, selfish young man, while Poulter exaggerates Mark's happy denseness. Midsummer obviously makes it clear that Dani is really alone in this bizarre kingdom, but the shortcomings of Aster's script are mostly accomplished by his brilliant scenography that maximizes terrorism in open spaces and the inexplicable customs of this eastern, quiet society .
The inventive sound design of the film, sliding-discarding special effects and mix of different music styles helps to patch over what can be stupid or forced elsewhere. Contrary to hereditary lowered, focused terror Midsummer explodes with blood and do – as well as ideas of our primary nature and the universe's remarkable ability to fulfill justice, no matter how unexpectedly not all aspirations succeed, but it is refreshing to see Aster and Pugh guide us on this wild stay.
Production company: B-Reel Films, Parts & Labor
International sales: A24, firstname.lastname@example.org
Manufacturers: Patrik Andersson, Lars Knudsen
Production design: Henrik Svensson
Editing: Lucian Johnston
Cinematography: Pawel Pogorzelski
Music: Bobby Krlic
Major: Florence Pugh, Jack Reynor, William Jackson Harper, William Blomgren, Will Poulter