Written by Michael Clawson


Style and story don’t cohere as rewardingly in Midsommar as in Aster’s debut, but his formal dexterity and ornate, hand-crafted aesthetics make for a visually distinctive and viscerally dreadful trip.

In Hereditary, Toni Collette’s Annie carefully toys with finely detailed dioramas of scenes from her and her family’s life, which, in turn, is being toyed with by an unseen evil. Aster builds this notion of manipulation and interference by outside forces into his film’s very form by shooting the family’s Park City home as if it were a doll house. Sometimes it’s hard to tell whether we’re looking at the house itself or a miniature replica of it, which furthers an unsettling atmosphere of ambiguity about what’s real and what’s not. 

Whether its the colorful and folksy sets, the Horga’s pristine white costumes, or the increasingly bloodied props, the fastidiousness with which Midsommar’s trappings appear have to come together enriches the world with detail, but at the same time, can feel too neat. My eyes were dazzled by the particulars, even as I occasionally questioned the authenticity of what I was seeing. The artisanal lottery balls, for example, struck me as perhaps overly ornamental.

Stylistic precision, in other words, is both a feature and bug, and it seems to have come at the expense of the story’s ostensible themes and characters. Pugh is fantastic, and yet she feels underutilized. Dani is a passive figure throughout, stumbling into her throne as the May Queen by chance and then sentencing Christian to death, which is one of the only active decisions she makes that I can think of. Arguably it’s symbolic of Dani’s emotional progress and her finally having the strength to sever ties with Christian and his friend group, having found a new “family”, but it’s hardly the emotional release it could have been since Aster manages to only cursorily imply the nature of their history together and what they’ve come to mean to each other. On a similar note, by the film’s end, I had no better understanding of how far Dani has come in grieving the loss of her family. 

I actually really like this movie though! Hence the very positive rating. I cannot wait to watch it again, and it’ll make a fantastic double-feature with Hereditary because of all their parallels and rhymes. I just think it’s better defended on sensory rather than thematic terms, and as a nerve-shredding nightmare of sunny psychedelia rather than a portrait of a relationship. Separate from theme or character, what Aster handles masterfully is tone. The horrific tragedy everything begins with, the cliff side ceremony of suicide (there’s some S. Craig Zahleresque skull-crushing there), Dani’s escorts wailing in harmony with her when she breaks down – scene after scene is staged with such a singularly unsettling suspense that’s all the more astonishing for being kept up as its balanced and blended with comedy. “Don’t think about it too much” isn’t usually a viewing strategy I endorse, but I do think Midsommar is better felt than decoded.

Midsommar Trailer

Midsommar is currently streaming on Kanopy and Prime Video.

You can listen Michael and Taylor discuss Midsommar in greater length on Episode 42 and Episode 59 of Drink in the Movies.

SXSW 2021 Review: Woodlands Dark and Days Bewitched: A History of Folk Horror

Written by Taylor Baker


“I think”, this preface can be found preceding dozens of assertions in Woodlands Dark and Days Bewitched: A History of Folk Horror. It’s unfortunate that something as juicy and spanning as the occult and it’s expression in film is used as a scaffold to assert these talking heads ideals, feelings, and personal experiences. Rather than an accurate historical examination of the origins and the journey into its expression in the visual medium. At 3 hours and 13 minutes Woodlands Dark and Days Bewitched: A History of Folk Horror rarely arrives at the heart of any origin of the various topics it discusses; which wouldn’t be quite so enraging if it wasn’t such a fascinating topic. 

As someone with only cursory knowledge of the occult through the works of historians and art historians such as Edgar Wind, Joseph Campbell, Brian Muraresku, and Harold Bloom it was frustrating to see assertions about specific topics such as the history of witches framed so poorly. There can be no doubt of Kier-La Janisse’s sincerity toward the source material. She’s clearly spent time with the depicted films and has a tender place for them in her heart. The ill advised over-reliance of archival footage and talking heads exclusively is at it’s (very brief) best when discussing historical fact. Unfortunately this often devolves as I previously mentioned into assertions of contemporary views and oft repeated messages being hammered again and again. These vain assertions do a great disservice to a project that could have been highly informative and durable.

It’s complete lack of interest in interrogating the iconography, direct source referencing, and history of symbolism seems unfathomable. Though it’s clear that Woodlands Dark and Days Bewitched: A History of Folk Horror prioritizes it’s message over it’s substance it’s unclear why those fascinating and universal pieces of interest are almost completely avoided. I’m not unwilling to give Kier-La Janisse another try, but I’m not convinced that I’ll see much growth in a new entry. Were she to pick up the camera in the future and tackle this subject again, I’d like to see her attempt a more in depth investigation into a single one of the sub-genres she covers here and really dive deep. Limit her runtime to 90 minutes and be more precious and strategic in her use of archival footage. One of the largest misses in a documentary film I’ve seen in 2021 so far.

Not Recommended.