Magic in Movies: Midsommar.

Psychedelic, hallucinogenic, anxious, ancestral, dramatic, dazzling ... these are just some of the adjectives that come to mind when it comes to Midsommar. But not only: it is a manifesto against toxic masculinity, a journey of expiation.

THE PLOT

The story begins showing us the grim situation of Dani, the protagonist of the film, suffering from chronic anxiety after having faced a devastating family loss. At her side we find Christian, an anthropology student and apathetic boyfriend.

In the extreme attempt to save a really tired story, Dani follows her partner on a trip to rural Sweden. Thus unleashing the discontent of Christian's classmates, who hoped to turn a study trip into a goliardic vacation.
The destination is a village called Hårga, on the occasion of a pagan festival held every 90 years during the summer solstice. Despite the golden light of the midnight sun and the fairytale atmosphere, soon we realize that not everything is as it seems ...

*** ATTENTION - SPOILERS FURTHER DOWN IN THE READING ***

In the film, we have two main themes that run parallel: the nature of the relationship between the two protagonists and the pagan community of Hårga.

The story between Dani and Christian could be, alas, the stereotype of many common relationships: a story governed mainly by feelings of guilt and habit.
Dani is a complex character, with a tragic family history behind (her bipolar sister committed a homicide/suicide at home, killing both the parents) - probably not the idea of a light relationship that Christian had in his mind, who constantly ponders to break up with her . An important role is played also by his classmates, who are constantly trying to convince their friend to finish the relationship.
And yet, despite the absence of genuine feelings from him and the pressure of his friends, he cannot leave Dani - dictated more than anything else by pity rather than love. A choice that, as we can easily imagine, does not benefit the couple.

On the other side we have a charming town, with immaculate clothes and garlands of flowers. A united community, respectful of nature and in perfect harmony with its cycles. After the idyllic first impression, we are immediately pushed out of the comfort zone: we witness a ritual geronticide (Ättestupa). The village elders voluntarily jump off a cliff, offering themselves to the divine and not to weigh on their family nucleus - combining the esoteric with their civic sense. After this first, traumatic encounter with the philosophy of Hårga, we realise that we are in a corner of time and space away from our worldly life: we return to the use of witchcraft, rituality and sacrifice, to runes, to astrology, to psychotropic substances for sabbatical use.

These two realities, apparently so distant from each other, collide in an anxiogenic spiral of hallucinations, spells, light, betrayal, blood and martyrdom which will lead to the ultimate break up between the two protagonists. We discover that the real reason for the invitation to attend this ritual is not the university thesis of anthropology, but rather to lure young students as human sacrifices - up to the last, distressing final act: the killing of Christian.

Midsommar is not simply a pretext to make you shiver in the light of the sun, it is the journey of liberation of the protagonist: the film begins with shots characterized by dark colours, like her psychological situation. Mourning, pain, anxiety, loneliness and abandonment ... until the final orgiastic explosion of colours, where we see a free woman. Finally Dani sees herself recognised, understood and finally visible.

Christian is not really an antagonist: he cannot be considered neither bad nor vile; he certainly has flaws that lead us to not see him favorably. He is unfaithful towards his girlfriend and friends, a liar, he carries on a relationship that is now at the expense of his partner, a victim of mob mentality; yet we rejoice at his killing. Which makes us think: what is the real horror element in this film? Is the community of Hårga, with its brutal laws in tune with the duality of nature itself, or the toxicity to which we are subjected every day but we accept as normality?

In conclusion, Midsommar is not a mere folk horror, but puts us in front of questions whose answers are within our subconscious. From the point of view of pure cinematography, it is a delight for the eyes: bright, symmetrical, flamboyant and - for Norse culture enthusiasts - full of Nordic symbolism, nothing is left to chance. So, if you want to shudder without waiting for the gloomy autumn evenings, we strongly recommend this sabbatical trip to the Swedish countryside.

♃Ludna

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