Horror movies often capitalize on darkness, gloom and things that go bump in the night. In Ari Aster’s Midsommar, the main action happens where there is almost no night. This summer solstice festival in remote Sweden is full of bright, dazzling sunshine, flowing green grass and flowers in full bloom. It’s an idealistic pastoral setting, with everyone smiling, clad in white linen. It can be so hard to run from something so perfect, even as horrific events begin to unfold around you.
After a heartbreaking opening that I wouldn’t dare spoil, Dani (Florence Pugh) is depressed and probably longing for some purpose or escape. Her inattentive boyfriend, Christian (Jack Reynor), is all she has, so when he decides to go with his friends to Pelle’s village in Sweden for their midsommar festival, she tags along at the last moment. A quick cut from her being near tears in a friend’s apartment to fighting off a panic attack in the airplane shows the grief she’s hiding and fighting through all alone.
Out in the middle of nowhere Sweden, Pelle (Vilhelm Blomgren) introduces Dani, Christian, Josh (William Jackson Harper) and Mark (Will Poulter) to his brother and a nice British couple he brought along. They take some psychedelic drugs in the middle of a field before going to the village. Mark’s reaction adds some comedy, perfect for his American idiot character. Dani does not have a good trip. That image of grass growing out of her hand gave me chills.
Once at the village, things start to pick up speed. There are short explanations about the village rituals, an elaborate meal and a couple gruesome deaths. It’s all part of the festivities, and with Josh and Christian being anthropology students, they try to keep an open mind, while the British couple are horrifically shocked, appalled and ready to leave. Dani is shaken but seems numb to it. It’s only the beginning, there’s still a drug fueled dancing competition, pube pies, grotesque mutilation, the worst one night stand ever. Like Burning Man, it ends in a spectacular fire.
While I felt like the first hour dragged, I was always invested. There was always a building sense of dread, even in the slowest scenes, that kept me hooked. And soon, the big events of the film were coming quick and building the adrenaline along with the dread. The Maypole dancing scene was one of my favorites, with the music and dancing starting and stopping and getting faster every time. Dani loses herself in it while Christian broods before deciding to drink his tea, sealing his fate.
The visual effect that made the trees and flowers seem to breathe while Dani was under the drugs was one of my favorite moments in the film. I was so captivated and disturbed by that effect, it really helps us understand frightening, yet exhilarating high Dani was feeling.
Everyone is comparing Midsommar to Aster’s previous film, Hereditary. They tackle similar subjects and bring about similar results, but they are night and day. Literally. Visually Midsommar is so bright and spacious while Hereditary is so dark and cramped. And to be honest, I didn’t find Midsommar nearly as scary, but I don’t think it’s meant to be. There are horrific and disturbing images, but nothing nearly as creepy as the last few minutes of Hereditary. But I guess that depends if you’re more afraid of the supernatural or tradition. That said, I guess Midsommar is more realistic and plausible of the two and that can be pretty damn scary.
“Ignore the bear.”
Lulu Wang’s The Farewell is “based on an actual lie.” The film is about her family coming together after learning of her grandmother’s terminal cancer diagnosis. They all travel from America and Japan back to China to be with her, under the guise of a wedding. No one can even hint at Nai Nai’s condition, much less the outcome they believe to be coming very soon. What unfolds is a beautiful moment of grief and sorrow blanketed by celebration that breeds joyful memories. 
Awkwafina leads as Billi, a young Chinese-American woman living in New York. When she learns that her family is going to hide Nai Nai’s illness from her, she is immediately against it. Her parents reassure her, through their own grief, that it’s for the best and advise her not to visit because they’re afraid Billi won’t be able to hide her emotions. Rebellious Billi shows up at Nai Nai’s doorstep once everyone else has already arrived. There’s a thick silence when she enters, as if everyone is waiting for Billi to lose it and spill the beans. Billi keeps up the charade, despite her often sorrowful expressions. 
Some of my favorite little moments in the film came from Hao Hao’s wedding reception. Billi’s family looks a lot like mine, and maybe yours too. They have old timers sharing juicy stories of their youth, kids playing on phones and with the food. Silly drinking games where that one cousin always loses. They make heartfelt speeches, sometimes forgetting to congratulate the bride and groom when they’re so focused on Nai Nai. But mostly, they let loose and have a great time. 
The idea of Eastern versus Western culture is interesting and eye opening for many westerners watching the film. Some might think it negligent, even cruel, to not tell Nai Nai that she has terminal cancer and will likely die in 3 months or less. Others might find it hard on the family who have to bear this burden of impending grief and sorrow so quietly. In a poignant scene, Billi’s uncle describes it well, “You think one’s life belongs to oneself….In the east, a person’s life is part of a whole family.” The way Nai Nai’s family comes together for the first time in a long while, raises her up and celebrates her, I doubt Nai Nai is completely in the dark. Somehow I think she appreciates what they hide from her and how they come together for her.
