Ari Aster’s ‘Midsommar’ Redefines Modern-Day Horror

The day can be as terrifying as the night.

Image courtesy of A24.

WARNING: Major spoilers ahead.

From the surprise hit of ‘Hereditary,’ from horror newcomer, Ari Aster, comes a new flick of psychological terror. ‘Midsommar’ is the lovechild from the mind and art of Aster.It has been one of the most anticipated films of 2019. As the review embargo lifted, many critics are describing it as one of the most disturbing horror films existing in the modern era. Though disturbing, as it strongly is, the film examines deeper into the psychological trauma of Dani (played by Florence Pugh) and her encounter proceeding through a festival built entirely towards a pagan cult. It is a tale of horrifying proportions towards each character, including Dani’s boyfriend Christian (played by Jack Reynor) and his mates. The gang venture into their own abyss when dealing with cult-like auras.

Movies, such as ‘The Curse of La Llorona,’ the ‘Paranormal Activity’ franchise, ‘Winchester,’ ‘The Nun,’ and unfortunately more are examples of modern day horror. Whether it is appreciated, or disliked, this is a fact seen in itself. These types of examples are the bar setting standard of what the horror genre is, until now. Though there are momentum shifting flicks such as ‘Us,’ ‘The Hole In The Ground,’ and more, it is not enough to change the modern day audience member’s perspective towards horror in-the-now. What is the type of horror the casual moviegoer relates to? Scenes where scares are due to an object, or entity, jumping at the camera. This translates to a cheap spectacle of something concerning a few seconds. There is not enough terror in a jump scare for it to affect ones’ psyche. A trait, in return, makes for a modern day horror trope. This is where the definition of psychology comes into play. This is where Ari Aster comes into play.

Aster, in ‘Midsommar,’ continues to deliver what he did in his last major motion picture. A psychological story of immorality combined with a horrifying reality boast for one of the best horror films of this year, maybe decade. This deadly combination of psychology and the horror genre pave the way for better scares, not in a sense towards a few seconds, but rather a few days, months, or even years. The reason being is due to the direction, script, story, and imagery. One exemplary source, from all of the reasons described above from the film, is just evidently gut-wrenching.

THE BEAR

Image courtesy of A24.

One of the scenes in the film depicts an adult male being sown into a carcass of a bear and being boiled alive within it. It is easily one of the most disturbing scenes out of this two-hour and twenty-seven-minute picture. After an early showing a day ago, I still can picture tension that built up to the scenery. The screaming in agony from the character, combined with the cinematography, builds up an intense moment that I may never be able to get over. This one scene is one of the many examples out of the film that provides a context of redefining the genre of horror. Another example would be an aspect that audiences saw right off the bat, before a theatrical release.

THE DAY

Image courtesy of A24.

The first teaser trailer promised a horror film in the daylight did not disappoint. Combined with tension and a strengthened plus unnerving storyline, ‘Midsommar’ delivers even more by having the film take place in the day. Aster’s choice in association towards the daylight was a brilliant set up that should be largely appreciated. The execution is near perfect. From being welcomed by festival participants, in a bright and sunny environment, to heading towards an acid trip, inquired just the right amount of intensity for how modern horror should be interpreted.

THE LEGACY

Director and screenwriter Ari Aster provides a new relationship towards the art of filmmaking and the horror genre. There are not any true jumps scares within ‘Midsommar,’ but the factor of making one never forget the disturbing experiences observed on the screen. Not only the disturbing sequences but astonishing cinematography that builds up the tension and agony each character heads towards. It is an unsettling film whose director gives a unique vision towards a genre that is heading towards the ground due to cheap and meaningless scares/moments. With a strong story and visual direction, Aster re-innovates the horror genre towards a unique buildup of tension and disturbance. It is surely simple to consider that Aster’s work, in his past two filmography projects, that this may be the future of the horror genre. If that is so, then audiences everywhere should be buckled in for a wild ride.