If you’re a fan of my spoiler-free reviews, please follow my blog. This was easily among the movies I most looked forward to seeing this year. Since *Hereditary* became one of my favorite films from 2018, Ari Aster's second movie naturally captured my attention right away. Fortunately, even though *Midsommar* is only being released now in my country, I managed to avoid spoilers and any images or clips. As you might expect, this isn’t your typical horror film, despite how it's being marketed. It certainly has elements that connect it to the genre, but it really doesn’t aim to frighten audiences or give them nightmares. *Hereditary* was quite divisive among viewers because of its lack of traditional scares and standard entertainment, in addition to feeling overly focused on spiritualism for many people. *Midsommar* is undoubtedly going to be even more polarizing. It feels slow-paced; there's no denying that. The first strange cult scene doesn’t appear until about an hour into the 140-minute runtime, which feels like a long time to wait. Although it’s one of the most shocking and disturbing scenes I've ever seen in broad daylight, its development (which is exceptionally well done) takes up a significant portion of the second act, slowing down the story considerably. Also, this movie relies entirely on shock value for entertainment instead of fear. If you didn't enjoy Aster’s first film because it lacked scary sequences, *Midsommar* isn’t going to change your mind. Like *Ad Astra*, which was just released last week, it’s a story that demands the audience invest in more than just surface-level aspects. If you expect to simply be entertained without thinking, then you might want to reconsider seeing it. I can't stress this enough: you really need to pay attention! Hints about what the film has in store are everywhere, especially on the walls. Through paintings, runes, and hand-drawn images, Ari Aster provides almost all the information needed to better understand where the story is going. It’s a movie exploring two main themes: how to cope with grief, and how to navigate a complicated relationship. These are issues that people should be able to recognize and see developed throughout the film. I appreciate how Aster addresses the latter topic (he wrote the screenplay after ending his own relationship), but I'm disappointed by how he pushed the former into the background. The first 15-20 minutes focus on what happens in Dani’s life, and that aspect isn't revisited, even though there's a vague sense of what might have happened by the end. Regarding relationships, it’s not exactly a “toxic” dynamic as seen in other films, but rather one where each person is looking for an excuse to leave. Consequently, some actions feel contrived, almost as if they’re meant to trigger something. It's a strangely realistic yet uncomfortable portrayal of what many people experience. Technically, this is among the most impressive productions of 2019. From the colorful cinematography to the precise editing, from the stunning production design (again, those WALLS!) to the immersive score … Ari Aster is no joke. The way he handles dialogue is a pleasure for someone like me who values character engagement. There are numerous extended shots featuring Florence Pugh delivering an intensely emotional performance; it’s undoubtedly her finest work so far. Her character's storyline contributes significantly to the “horror” elements of the narrative. Just as Toni Colette did in *Hereditary*, Pugh is likely going to be overlooked during awards season, and the film’s technical achievements may also be ignored because the horror genre still hasn't fully earned widespread recognition. Regarding the other characters, they’re my main problem. They felt more like plot devices. Will Poulter (Mark) is amusing as the comic relief, but his character, like all the others besides Dani, doesn’t do much to make me care about or feel invested in their own subplots (if there are any). They barely have any backstory and essentially exist to move the plot forward by providing opportunities for Aster to showcase some pagan rituals. There are incredibly shocking, bloody, and startling scenes; some might make you uncomfortable, while others may even elicit laughter. But they’re all intended to shock you in one way or another. Whether you love it or hate it, *Midsommar* is memorable. If you didn't enjoy *Hereditary* because of the lack of jump scares, then this isn’t for you. *Midsommar* requires full attention, patience, and an open mind. It’s not a typical horror movie, so don’t go in expecting to be constantly entertained by cheap thrills. Your expectations are everything, so manage them accordingly. It offers a unique way of addressing grief and complicated relationships, but if you LOOK AT THE WALLS, you might be able to follow the story more easily. Technically, Ari Aster delivers a masterful work with exceptional production design and gorgeous cinematography, plus seamless editing. Florence Pugh carries the story on her shoulders with an astonishingly compelling performance, but the supporting cast didn't do much with their underdeveloped characters. The film drags at times, and it can become tedious, but ultimately, it’s one of those movies that stays with you. A second viewing may be needed, and it will probably be a better experience. I look forward to seeing what he does next. Go see it! Rating: B

Source on TMDB