User Reviews

Midsommar feels wrong from the very beginning. The opening music, Ari Aster’s camera and what happens before the film even reaches Sweden create an enormous sense of anxiety. No monster is required. Within minutes, you already know you are entering an emotionally horrible place.Then the film completely changes its appearance.Dark, enclosed spaces give way to something bright, open and almost beautiful. Green fields, flowers, white clothes, outdoor meals, songs and dances. Everything seems designed to suggest peace.Which makes it even more disturbing.Aster manages something difficult: creating horror almost entirely in daylight. There is no dark corridor warning us that something terrible is coming. Horrific things happen openly, under the sun, surrounded by smiling people who consider them completely normal.That is what disturbed me **** ceremonies are absolutely insane. These are the kind of deeply twisted traditions that seem to belong to an impossible village, a community that might have spent centuries isolated from the rest of the world developing its own rules without anybody stopping to ask whether everyone involved had completely lost their **** the worst part is how normal everything feels to them.When something brutal happens, the community’s reaction can be even more unsettling than the event itself. There is no surprise because, for them, it belongs to a perfectly logical order. You are horrified while they simply continue with the ritual.Florence Pugh is extraordinary. Dani arrives emotionally ****, and the film uses that condition to make everything that follows even more uncomfortable. Her relationship with Christian is exhausted long before the trip. He does not know how to support her, but he also lacks the courage to **** that sense, Midsommar is also the story of a relationship that has been dying for a long **** community finds exactly the cracks between them. Against Christian’s emotional distance, Dani discovers a group that appears to share her grief, cry with her and accept her. Of course, that collective embrace belongs to something far more **** film constantly plays with that contradiction: everything is beautiful and everything is **** colours are gorgeous. The cinematography is stunning. The landscapes could belong on a postcard. And all the while you are waiting for the next atrocity.There are also moments of extremely harsh physical violence. Aster does not need constant gore. He places particular images at exactly the right moment and lets them remain in your head. Some are very difficult to **** music is crucial. Bobby Krlic creates something ceremonial, mournful, strange and sometimes openly threatening. From the opening, it helps maintain the feeling that something terrible is hanging over the film even when apparently nothing is **** film is long, and some ceremonies could probably have been shortened. At times Aster seems so fascinated by the world he has created that he wants to show every tradition, symbol and **** that insistence also has a purpose. The longer we stay there, the less the community feels like a strange backdrop and the more we understand that everything operates according to an established internal logic.A completely insane logic, but logical to them.That may be the most disturbing thing about Midsommar. These people do not believe they are doing anything evil. They are convinced they are doing exactly what should be **** result is strange, unpleasant, hypnotic and occasionally so absurd that you almost do not know whether to laugh or feel **** it never stops being uncomfortable.From that dreadful opening and its music to the final ceremonies, Midsommar maintains an anxiety that is very difficult to shake.Absolute **** proof that horror does not need darkness to be terrifying.

[SPOILER ALERT: This review contains spoilers.]

Fairly slow opening but proceeds to bring a unique atmosphere and culture shock midway through, great suspense

A Chilling Midnight-Sun Nightmare of Grief, Cultist Manipulation, and Terrifying Catharsis.201222 (4.0)Through that midsummer midnight sun, the person I gained, and the person I lost. The music and visuals were so utterly chilling and grotesque, and the story tore at my heart, tormenting me for a long time. Even so, because the film is brimming with painstakingly crafted metaphors, I fell in love with its directorial prowess and meticulous composition. They say it was inspired by the director's own breakup experience; if he went through two breakups, he would probably create something rivaling "Sodom and Gomorrah." Florence Pugh always takes on characters with gender-neutral names, and the actress herself has a genuinely neutral quality in both voice and appearance. As expected, when you feel a sense of unease, that intuition is correct; if someone truly loves you, they will never leave you feeling confused. The way they concoct that love potion in the Swedish village of Hårga is terrifying enough to induce seizures. Isn't Josh, the friend who constantly acts like a know-it-all, that guy from "The Good Place"? He constantly acts like a know-it-all there too—Chidi Anagonye. Goodness, what a shock; was this really such a grotesque horror film? Why do they keep showing that crushed face over and over? It is so frightening. To maintain a small community while avoiding congenital disabilities caused by inbreeding, they keep pureblood lineage to a minimum, lure in outsiders, brew and feed them a love potion (horrifyingly putting pubic hair and menstrual blood into the desired man's food) to harvest their seed, and send grown children out to recruit more outsiders. When necessary, they disorient, slaughter, and consume the outsiders, seemingly intent on leaving only Caucasians. Claiming that white is right, they kill and sacrifice guests of South American, Arab, and Black backgrounds. Drugging people and making them perform a frenzied flag-style dance to determine the last one standing—and that person becomes the May Queen? They bewitch and isolate her like this while ensuring her boyfriend sires offspring for Hårga. The sexual customs of Hårga are repulsive. After feeding the man a gruesome love potion and heating him up with hallucinogens and aphrodisiacs, they scatter flowers and lead him to a virgin girl. Behind the naked girl lying on the bed of flowers, countless naked women sing seductive chants. How terrifying and bizarre. Christian's bloodied genitalia after the act reveals her first sexual experience; it is frighteningly detailed and genuinely horrifying, with grotesque chanting throughout. They said nine sacrifices were required; outsiders are used either for reproductive sperm or slaughtered as sacrifices. To maintain a set population, elders aged 72 and above are made to commit suicide, and their names are passed down to newborn babies. What a world. They bring a couple, choose and elevate the woman as the May Queen, and while her attention is completely consumed, they arrange for the man to impregnate a local virgin so that the May Queen witnesses it, comes to hate him, and selects him as a sacrifice by her authority. It is subtle and terrifying. Amid the collective madness, the woman becomes a full member of this community. From the very beginning, Mark, the slacker, casually says things like, "Dump your girlfriend, hit on that girl and get her pregnant; there will be plenty of women to impregnate in Sweden." While sanitized in Korean subtitles as flirting, a literal translation foresaw everything. The ritual of burning living people inside the yellow temple feels insane; for something supposedly held once every ninety years, it is far too elaborate, suggesting they likely commit such madness much more frequently. The animalistic wailing that mirrors outsiders' emotions so they cannot indulge in their own feelings feels terribly cunning. When babies cry, I sometimes intentionally cry along; the babies wonder what is happening and stop crying. Perhaps their collective weeping serves a similar purpose—to keep people from crying and prevent them from coming to their senses. (Looking it up, the concept of mirroring is a crucial value in Hårga; they chant, weep, and groan together in collective empathy.) Simon hanging in the chicken coop with his ribcage and internal organs split open is reportedly the Viking execution practice known as the Blood Eagle. It was so appalling that it reminded me of the movie "Traffickers." The protagonist Dani, far from merely worrying about her bipolar sister, is deeply unstable herself. Being fragile, desperate for love, and consequently losing her charm, she cannot receive genuine love, remains haunted by visions, and fails to overcome her agonizing psychological state. While she might have relied on people in the past, she no longer has a family, her boyfriend's feelings drifted long ago, and even her friends are exhausted by her constant whining.

[SPOILER ALERT: This review contains spoilers.]

About 40 minutes of the film were more than enough for me, the movie defeated my attention span.

At it's best, Midsommar is beautiful, provocative, and disturbing. The cinematography and production is excellent, and creates a uniquely unsettling mood. That said, its unnecessarily protracted duration is tedious. The second act drags, and there's very little plot development. It's somewhat redeemed by a satisfyingly bizarre finale (which is really saying something for this film), but not entirely. For me, at its best Midsommer is uniquely enjoyable in the moment, but probably won't have much long-term resonance. I doubt I'll be inclined to view it again.

Pleno verano En cuestión de generar terror, quizás Hereditary podría estar un poco por encima de Midsommar; sin embargo, Midsommar como película me gusta bastante más. El concepto de una película de terror desarrollada a plena luz del día (y las posibilidades de fotografía que da eso), la mezcla del folklore sueco con las situaciones siniestras de la trama, el impacto de la hiperviolencia y, sobre todo, el final, que creo que referencia bastante bien al final de Hereditary y marca un estilo en las películas de Ari Aster, son las cosas que hacen que mi gusto se decante más por esta cinta. Además, siento un poco mejor logrados los simbolismos con los que se busca transmitir el significado de la película: Hereditary es sobre pérdida y duelo; Midsommar es sobre ruptura y cómo las relaciones dañinas nos vuelven parte de una dinámica que nos destruye en diferentes niveles. Ari Aster no hace "películas de terror", hace relatos humanos disfrazados de películas de terror.

Midsommar is really one of those movies you have to watch a couple of times to truly appreciate. The setting is absolutely gorgeous. The small signs and symbols throughout the film are easily missed. The atmosphere is pulsating. Even the tone sinks in deeper on multiple viewings. This is really one of the best and most stylish slow burn horror movies out there.

Midsommar è un prodotto intrigante. L'ho trovato elegante ma inquietante, pulito ma violento, bello ma inaspettato. L'idea dell'horror in piena luce mi fa impazzire. Ari aster ha fatto un lavoro fantastico,con una regia e una fotografia veramente memorabili. Attori poco carismatici ma in generale in film è di una fattura deliziosa. Non lasciatevi ingannare dalle apparenze, midsommar è uno dei film piú inquietanti che io abbia mai visto, con un finale che vi lascierá a bocca aperta

Starts of quite ok until the film goes to Sweden. After that it turns unengaging and stupid just like the actions of the characters in it. Pugh is cute though...

The movie's rating is significantly deflated by the fact that it advertises itself as a horror movie, but it just isn't. It attracts horror fans, but the correct target audience are people who like thought-provoking movies and aren't immediately turned off by atrocity and moral ambiguity. If that's the target audience that the movie tried to appeal towards, it would have a much higher rating. But judging the movie for what it is, it's one the most immersive and thought-provoking movies I've seen in a long time. It really made me think very deeply about the topics of excessive individualism in the West; the idea that death is a lot less scary in the presence of a community or transcendent order that one sees as an extension of oneself, and which outlives oneself; the sense of profound meaning and belonging that can arise from a rich shared culture; but at the same time the absolute atrocities at the individual level that can be overlooked or even embraced with an excessive focus on community; the lack of ultimate purpose and unique contribution when every generation is an exact copy of the last; and the absolute hellscape and moral bankruptcy that can ensue from getting too comfortable with the ideas of death and suffering. I cannot understate how much the movie made me think about these topics. I'm not exaggerating when I say that this movie influenced my worldview. Not directly - as it doesn't intend to give all the answers - but it certainly intends to ask questions, which it does with incredible efficiency, in my opinion. In addition to its thought-provoking nature, it also uses horror, ambiguity, and the striking unfamiliarity of the cult to the protagonists to create a sense of mystery, which makes the movie very immersive, in my opinion. All in all, I genuinely think it's pretty close to a masterpiece. It's certainly not going to be too everyone's taste, and it has its fair share of repulsive scenes, but those whom the movie is for are going to get a LOT out of the movie, I think.

Yo me esperaba una película de miedo, y si que es verdad que ciertas escenas si dan la sensación de, incluso, terror, sin embargo no sería la categoría que le pondría, además el avance de la película es bastante lenta

One of my favorite horror films of all time, with the extreme summer days adding to the cult atmosphere, a morbidly intimate relationship is always the most **** hero and heroine get a completely different experience when they arrive in the village, but in the end the heroine gets redemption to find herself and the hero gets his **** camera language, the scenes, the color palette and something that will look like it's going to dazzle you, I loved it.I love everything about Midsommar.

Ari Aster’s Midsommar (2019) is a chilling exploration of grief and cultural rituals set in the bright, disorienting daylight of a Swedish commune. After the tragic loss of her family, Dani (Florence Pugh) joins her distant boyfriend Christian (Jack Reynor) and his friends on a trip to a secluded village, where they soon find themselves entangled in disturbing, ancient practices.Aster contrasts Dani’s bleak, claustrophobic life before the trip with the unsettling openness of the commune, where the vibrant, sunlit surroundings amplify her sense of vulnerability. The film’s striking visual design, especially the bright, floral clothing of the villagers versus the darker attire of the outsiders, symbolizes the cultural clash and impending doom. Recurring motifs, such as the color yellow, represent death and the cyclical nature of life, with the commune’s strange rituals ultimately forcing Dani to embrace a new, horrifying role.With its haunting visuals and disturbing symbolism, Midsommar is a psychological horror masterpiece. Drawing inspiration from classics like A Clockwork Orange and The Shining, Aster crafts a disorienting, unforgettable experience that lingers long after the credits roll.

[SPOILER ALERT: This review contains spoilers.]

Loved it the first time I watched it. Definitely has one of my favorite opening scenes. The acting is good.

[SPOILER ALERT: This review contains spoilers.]

acho que esse é facilmente o filme mais legal que eu já assisti amigos o começo é meio arrastado mas vale muito a pena ok assistão

Avoiding the subject of their inevitable breakup, a mismatched young couple bickers and goes through the motions while friends encourage them both to face the music. That hard conversation becomes downright impossible when the girl’s entire family is killed; you’d have to be a real **** to dump somebody in that scenario. As a sort of olive branch, the boyfriend invites her on a formerly guys-only trip to Sweden. Maybe a dramatic change in scenery is all they need to process the grief and make a decision about their romantic future. It doesn’t exactly work, but things aren’t going badly, either. That is, not until they start picking up **** vibes from the small, folksy, ritual-laden European festival they’re attending. In his follow-up to the acclaimed horror film Hereditary, writer/director Ari Aster has chosen similar thematic territory. That means bad news for the couple, and their little band of pals, and a steady ramp of disturbing omens for the rest of us. Midsommar wastes little time in slapping the screen with ugly premonitions and ominous undercurrents, then doesn’t let up until we see credits. The whole purpose seems to be cultivating bad air and negativity until it smothers us all. The awful atmosphere grows so dense, even the shroom-tripping cast can feel it, but the awkward natural discomfort of being a stranger in a strange land (and the polite urge to appease their sunshiny Swedish host) convinces them to let the warning signs slide and stick around until it’s way, way too late. Like a Scandinavian Wicker Man, Midsommar is a bad scene that never quits. As the cheerful songs and festivities devolve into ritualistic groans and chants, we’re beaten to a bloody pulp by all the symbolism and foreshadowing. Aster’s film dwells here, celebrating its moody nest of discomfort, forever. I was impressed by that at first, effectively skeeved by the ascending weirdness and creepy premonitions, but hit my saturation point around the one hour mark and lost interest when it became clear that’s all it has. It’s very good at playing that one note, creatively filmed and effectively directed, and it doesn’t shirk from anything when it comes time to pay the piper. Whether it’s appalling gore or discomfiting nudity, you’ll get an eyeful. By the end, though, I was thoroughly numbed and distinctly underwhelmed.

Very few movies have left me in awe of camera movement as this one. Everything is perfectly timed, with the focus lingering on certain details that Aster trusts the viewer enough to pick up. The camera is just a much the storyteller as the dialogue and performances. The blinding daylight is a great setting. The well-placed shocks of color that come when they are enhanced symbolically as a result. Fiercely committed performance by Florence Pugh. This movie puts her through the wringer and she rises to the challenge.

It's not bad. It's filmed kinda ike a documentary, emotions and ideas are suggested here and there without pushing.. Technically it's good. The casting too. That being said, it's not very entertaining, especially since The Wicker Man thematics have been used quite a lot in horror movies and shows. Closed communities even more.. So nothing really new to the table,safe a certain style

Absolutely disgusting. I hate every second i spent watching that film. I was looking for a movie and it just popped up in front of me. I watched the trailer and it was okay. So i decided to make probably one of the worst decisions i have ever made and watched it. I'm a horror fan and there was nothing scary about this movie just some (and i mean very few) disturbing scenes. An absolute waste of time 3 hours just to see the last 15 minutes where everything was a nonsense but at least there was something to watch. I still can't get what people like about it. If you're bored like me and you're looking for something to watch don't i absolutely do not recommend it is not meant to be for casual viewers. Worst movie i have ever watched

A good movie, but this topic is not for me, for those who are interested in delving into ancient pagan culture, it will definitely work, and the movie is definitely not bad, for general development it is definitely worth watching

2019's 'Midsommar' was the first film to introduce me to the work of director Ari Aster and the production house of A24. Thank god!SYNOPSIS: 'A couple travels to Northern Europe to visit a rural hometown's fabled Swedish mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.''Midsommar' is one of the most unsettling and disturbing films out there at present. It's Aster's intention to cause as much emotional strife inside the viewer, to the point you question your own feelings by the time we reach the film's gripping finale.Aster splices together moments of the most graphic horror with gorgeous production designs and some silly, laugh out loud moments. You never know what's coming next, what emotions he'll tear at in the next scene. Where is the next gut punch coming from? We know it's ****'s visceral cinema at its best. The modern day 'Wicker Man'.Florence Pugh gives a gut wrenching turn as our heroine. Or is she? A career's best performance.This film is a modern day horror classic and cements Aster as being the genre director to catch.Incredible.9/10

The awesome thing about the director is that he is the master of making me feel uncomfortable. I mean truly really it's almost astonishin How good he is at it. And how beautiful He can make the most terrifying **** how the horror slowly sneaks in on the my skin in the little details in flowers and butts just **** way the movie shows what happened to vulnerable people when they don't have good support systems around them. It's just marvelous how shows could end up joining a **** movie is showed beautifully in the Swedish countryside which is actually Hungarian countryside when it was filmed, but beside the point it looks marvelous, clothes looks so creepy, because they are looking so nice and wide and pure and that just makes it uncomfortable to look **** movie was amazing it got under my skin, but nice special effects and the main girl the torment was interestingly sad.

Horror is not my genre, but this is not a typical horror film. Compelling, disturbing, artistically directed, fascinating to watch.

Are these types of movies just for idiots? You could tell everything that was going to happen immediately upon meeting the cult members. Also, none of the characters were developed at all. I don't care that these people might die if you don't develop them at all. Films like this show the change in society with the new generations who are addicted to their phone. They have to make movies so dumb now that losers who are addicted to their phone can look up every 10 minutes and still know what is going on? "Oh, the creepy pale people are still evil? Let me check instagram brb".

Ari Aster's follow up to Hereditary is another ambitious, intelligent horror film with strong focus on character driven drama. Though, it does delve into some similar territory as Hereditary, a film this does not quite stack up to. The performances here are once again very good, with Florence Pugh's lead serving as a strong ancor for the rest of the cast. However, there is no performance that comes close to matching Toni Collette in Hereditary.

I wasn’t into horror genre until I watched Suspiria and Midsommar. What an experience!

In my opinion this is a great film, it is very well directed and good written, although I found some secundary characters arcs a bit superficial and sometimes things happen slowly and I know that some people will find some moments borring, confuse or even funny, I thing that may happen if you expect a "mainstream" horror movie, I recommend it but just for the ones how will watch it without any expectations and with some patience.

If you don't like Ari Aster you must still be watching Transformers movies and I have no respect for you as a human being at all. Midsommar is disturbing because of how realistic it is written for the occasion and ride it puts you on. The fact that Ari was able to create something like this disturbs me greatly; a horror film should not be this scary filmed during the day, but it is.

What the **** this movie ???!!!!! It's not a horror, nor a gore ... No story , no solution , not a .... Ahhh I'm so angry , because I "listened " to critics review , and I gave a chance ... But it's a crap , literally a crap. Don't waste your time or money on this

Ari Aster's "Hereditary" was brilliant. Midsommar attempts to capture some of the same black magic, but it fails miserably in my opinion.

[SPOILER ALERT: This review contains spoilers.]

This movie is a perfect movie to watch at night alone. it is scary and weird

So Disturbing. 10 minutes of sex scene and a lot nudity. Is this horror movie or a JAV ???

3rd time watching this flick. I love it. It’s creepy, beautiful, disturbing, unnerving, and fresh. It takes its time to build up the horror. If you enjoy art house cinema and horror, this is grade A.

Florence Pugh gives a career best performance and the visuals and directing are superb.

Saw this movie 2 years ago and literally still think about it from time to time, it is that affecting. Over the top? Certainly, but in a good way. A psychological horror piece that will stay with you. Just be sure if you are in the right mood and ready to absorb some serious anguish. Overall an excellent, excellent film.

Florence Pugh's portrayal of grief is heartbreakingly ugly, and realistic, and so is the dynamic between her and her boyfriend. Yes, the writing certainly deserves some credit for those two things, but Florence's performance is so incredibly raw and uncompromising that you'd swear Dani was a real person. I would put her performance in this film right along aside Toni Collette's in "Hereditary". Both are, without a doubt, beyond Oscar-worthy. Moving away from Pugh for a little while, "Midsommar's" other aspects all work quite well. While the story does occasionally feature cliches within the way it chooses to dispose of its characters, the film as a whole does a good job of being interesting and deeply unique, and much of that is thanks to its bright color palette, and wonderous set design. Just as Pugh makes Dani a real figure, the cult in "Midsommar" is expertly built-up and detailed in their construction to the point where you feel just as terrified of them as the characters. Their actions, lore, and ways of attracting new members all feel relatively grounded, and increase the horror of the film overall. While this may not be on the same level as Hereditary, "Midsommar" is one more piece of evidence that Ari Aster is of modern cinema's most talented writers and directors. - Best Performance: Florence Pugh

[SPOILER ALERT: This review contains spoilers.]

I don't consider myself to be a huge horror fan (in fact I hardly ever watch terror movies), but I really loved Midsommar. Camera-work alongside a exquisite cinematography and a spectacular Florence Pugh got me hooked without noticing the pace problem everyone seems to suffer. I really can't wait for Ari Aster's new project with Joaquin Phoenix.

I rushed to see the director's cut of this film not long after watching Hereditary, which I was late to. While Midsommar has a little less impact than the previous, it starts with incredible sobriety. It hit home for me very strongly, the lead character's sister and parents passing away due to her sibling's mental illness. From there, it is incredible how we see the journey to cope with grief and also the incredible strangeness of this trip and the village. Stunning cinematography and an emphasis on the emotion. Actors really worked well. I enjoyed this film as a psycholgical, unsettling horror that confronts you with how people have to keep going despite everything around them, as well as become complacent in the strange and unnerving if it offers them relief. 9/10

A colourful horror story. perfectly written, perfectly acted, perfectly directed, perfect cinematography. it's an instant classic.

Amazing movie and severely underrated. Highly recommend to anyone who hasn’t watched.

[SPOILER ALERT: This review contains spoilers.]

This movie might feel like a small step back by Ari Aster compared to his previous movie but it's even more ambitious and original. The idea behind the film is good. The idea is to talk about the pain of a loss, the elaboration of mourning, the distance of those who should be part of your family and the welcome from those who do not expect. But here characters feel like they're not always well written, the movie never takes flight and turns out to give the wrong idea of ​​Sweden and its communities. Then I saw the director's cut and characters are so better written than the ones you see in theater version. Times are dilated in the first half of the movies and then rythm becomes faster and more compelling. . You feel like there are skills in Aster directing and they are more evident in the director's cut to which i give my score. Great performance by Florence Pugh. The score Is more like a 6,5 for the theater version but I will give it 7 for the slightly better director's cut and for the madness and originality of the script.

I just loved this movie! It was so interesting, unique, beautiful (like so f**king beautiful!!! The colors and the cinematography in this film was just breathtaking!). The acting is top-notch especially from Florence Pugh who gives a marvelous performance! I can say that the story is slow, and you need to come to this film with an easy mind set to really enjoy and appreciate it, but in my opinion it's absolutely worth it! If I'll have the opportunity I think I will watch it again, and I can obviously recommend you to watch this film.

very nice movie very nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movievery nice movie