How Midsommar serves as a Hereditary companion piece
for perverts.” Those are perhaps somewhat strange descriptions for a film that has been described as one of the best horror movies in recent years. But fairy tales have a wealth of horror — of disguised witches, of blood rites made on the tips of needles, of animalistic transformations, and of realizations that there’s no place like home. Aster sticks to the fairy tale format throughout, not only in terms of narrative structure but characters who serve as allusions to classic archetypes.
Within this fairy tale we see the eventual fates of these characters foreshadowed by the pagan artworks and tapestries that adorn the lodgings of the Harga. The narrative heritage of the film is present in nearly every scene. It’s not just the Swedish folklore and traditions that Aster studied, alongside those of Germany and England, that make their mark onand tease the eventual fortunes of its characters.
, Robin Hardy’s musical-influenced exploration into pagan horror and the failure of Christianity. Tobe Hooper’s sun-soaked nightmare is also accounted for in a scene in which the monstrous inbred oracle, Rueben channeling Leatherface wears Mark’s face. And in the final scene, Dani’s cries of anguish shift to elation not unlike Sally as she rides off in the truck away from Leatherface but presumably forever changed by the encounter.
As Dani’s relationship with Christian is further strained as he displays an increasing lack of empathy and investment in his relationships with her and his friends, she begins to feel a greater connection to the commune. The horror that she experiences isn’t a result of what’s happening around her at the commune, but of the aftereffects of what she experienced back in America, and the baggage, including Christian, she has brought with her.
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