Midsommar ★★★★½

*Director’s Cut*

It’s a warm lavender tea laced with poison served in fine china overglazed with flowers.

Ari Aster discovered the tonal S-curve and splattered it onto Scandinavian paganism. The film’s use of colour is just eyegasm. Complementary, tertiary, triadic colour schemes - this film had it all and so well executed that the visual marriage between this and of its characters and setting was simply harmonious.

The unalarming, soothing, and welcoming atmosphere and visuals draw you in like home sweet home; like the comfort of your own bed. This feeling of comfort is where the horror elements capitalize, turning something familiar into an unfamiliar space so much so that its psychological effects lingered and left me reflecting long after the commute home. It’s much more than a horror movie. It's a Horn of Plenty that sets itself apart from the rest.

“I’m trying to keep an open mind though. It’s cultural, you know?”

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