Monthly Archives: July 2019
Oh hey there, it’s been a while. I just wanted to talk about possibly one of my new favorite directors, Ari Aster, starting a blip with his 2018 feature debut, Hereditary. Mild spoilers ahoy!
After the death of her mother, Annie (Toni Collette) is doing her best to keep her shit together – after all, her mother was a source of incredible trauma for her and their family. But even after death, Annie’s mother wouldn’t cease to drive her crazy.
In terms of accolades, this film is probably the most underrated of 2018 next to Searching and Mandy (and probably Mute, but I haven’t seen it yet).
Halfway through the film Collette delivers a monologue that gives me chills every time – I was hoping that scene alone would gain some attention.
The beauty of this film as a horror piece is that you can’t tell if the chaos is grounded in the physical or the supernatural until the end. Even then either way can be arguable. Additionally I feel that every reaction to each terrible event is plausible, if not understandable.
Hereditary is a mental health awareness piece under the guise of supernatural thriller. Even Aster only considers it a drama. The tension is built up so beautifully, each extreme becomes an emotional crescendo. As creepy as it is, I love showing this movie to people so I can watch their reactions. Both Collette and Alex Wolf have fantastic performances, so come for the drama, stay for the coming of great Paimon.
After such a strong debut, sometimes a victory lap is in order.
Midsommar begins with Dani (Florence Pugh) and Christian (Jack Reynor), a one-sided toxic relationship held together by dependence and guilt. Things only get more awkward when Dani is reluctantly invited to what was originally intended to be a stag trip to Sweden with Christian’s friends.
The tension is palpable from the get-go, and things only get worse from there: their destination is within the Hårga – an isolated
cult commune with little room for modern amenities. Luckily for our party, they are to witness a midsummer event that the Hårga only celebrate every 90 years. When this festival kicks off with a gruesome ättestupa ritual, our novice anthropologists realize that they probably should have picked a different topic of study.
Pagan-influenced bloodshed aside, the focus of this story is what happens when selfish individuals enter a community of selflessness. In the case of Dani and Christian, we’re dealing with extreme anxiety and utter idiocy, respectively. Dani has been through so much trauma, she is an emotional void of sorts, constantly on the verge of a breakdown. Christian is clearly painted as an assholish coward throughout – avoiding the inevitable with Dani as much as possible while mooching off of his friends.
In spite of her emotional condition, Dani proves to be open to new experiences, slowly warming up to the Hårga’s traditions. Because the events taking place, we as an audience cannot know what daily life is like, and really if they’re on psilocybin all the time or exclusively during festivals.
Regardless, psilocybin is a psychedelic that makes one feel closer with nature as well as peers, so this commune in the middle of the wilderness is the ideal place to be on shrooms 24-7. In Dani’s case, when she’s isolated she’s left with hallucinations of her traumas, but when she’s with the Hårga, she has a sense of belonging – so when she finally genuinely smiles, you feel it. Christian’s experiences, however, are thwarted by skepticism and discomfort.
Midsommar is a love story in a way, in the sense of feeling connected with one another through experiences rather than expectations. But due to Dani’s impressionability, she is easily taken advantage of. It was almost reminiscent of The Witch when Pelle asks Dani regarding Christian, “does he feel like home?”
Despite the utter beauty of this undertaking, I keep ruminating on that Pelle claimed his parents were burned alive, implying they were previous tributes – but didn’t they say the ceremonies were every 90 years? I think it can be argued that due to the absolute communal nature of this, well, commune, through all the shared feelings and expressions, would it be so hard to believe that each elder could be called a parent? Or that past trauma is shared through generations to the point of being a constant. It’s fishing, but it’s possible. Or maybe 90 years isn’t literally 90 years. Or maybe I missed something? …Or maybe it’s just a plot hole.
Both films are unified in trauma and grief, with any hopes of closure dashed away before they can even be actualized. Additionally the idea that when one is vulnerable, any influence can be let in – both literally and figuratively. Cults also appear in both films, but they almost appear to be a backdrop for our protagonists – working behind the scenes while Annie and Dani slowly break from the inside out.
I’ve been going through Ari Aster’s short films, and I cannot wait to see what he does next.