Midsommar

Midsommar ★★★½

This review may contain spoilers. I can handle the truth.

This review may contain spoilers.

I understand this movie as an exploration of grief akin to Hereditary and, taking it as such, I found the first third of it more bearable, poignant and attractive than Aster’s previous film. 

I don’t think I understand this movie as the representation of a white supremacist Nordic cult (all the white men are coveted by a woman of the commune, the white woman is crowned queen, the men of colour are never considered for “mating”, the first two people killed are people of colour, there’s talk of “purity of bloodline”, disability is dehumanized etc.). The cult, as in Hereditary, is arguably a mean to the metaphor, but it is rich in meanings by itself, and these meanings can hardly be ignored. While the various human sacrifices and the deaths are outlandish and serve Pugh’s story — even bears have set up, reminder and payoff — the eery whiteness and deliberate cleansing don’t really seem to have anything to do with her, nothing beyond the unaddressed reality of her own race at least. 

I liked the movie overall, even a little more than Hereditary, particularly Pugh’s performance and the drug-induced sluggish distortions of the environment, but I fear this is going to be another Us in terms of eternally hanging questions and partial allegories.