Ari Aster’s ‘Midsommar’: Destined to Be Controversial, Because the Real Horror Is Off-Screen (Column)
,” Aster’s reach is even bolder — he has made a sun-dappled socio-pagan cult nightmare that connects to our time in ways that explode in your head long after the movie is over. Yet in both films, especially the new one, there are elements of indulgence to his method.Last year, I saw “Hereditary” with a mainstream audience on opening weekend, and by the end there was visible head-scratching hostility.
I’m one of those viewers who was blown away by the ending of “Hereditary,” in which we finally got to see why the film’s central figure, a bewildered high-school stoner , was being plagued by catastrophes, dream signs, lurid premonitions. Usually in a movie, when the ghosts are haunting you, there’s a war between good and evil . But in “Hereditary,” it turned out that the hero wasn’t being attacked — he was being wooed, prepared for his new role.
“The Wicker Man” was one of a handful of films that “Hereditary” drew upon, but “Midsommar” is a veritable remake of it. It’s about a small, close-knit group of American grad students who follow their friend and colleague, the smooth-talking Euro hipster Pelle , on a trek to the Swedish countryside to visit the Hårga commune he grew up on.
But the key element of real-world grounding is that, though the Hårga are presented as a primeval fertility cult, they’re really a counterculture commune out of the late ’60s and early ’70s — a vision of contemporary people embracing a trippy, sexed-out, timeless image of going back to nature. And though the communes of that era mostly fell apart, what didn’t go away was the counterculture vision of shared, and merged, identity. That, ironically, is the true nightmare of “Midsommar.
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