It is another home run by Aster with his unique filmmaking style, the misinterpreted celebration is the key to this film.
Aster makes horror real. While other filmmakers, other films are desperately trying to fantasize about this beloved concept, Aster is never into that make-believe attitude while dealing with his content. It could be a documentary and you wouldn’t know the difference. And this concept, the bizarrely head spinning idea that the writer and director, Ari Aster has dug out is something he values above all. And you can see that easily on both of his films. Even in his debut film Hereditary, Aster keeps the philosophized idea of his above any other character or the world they live in. And if you think about it, THAT is scary.
For an audience responds to characters. They are constantly looking for an image of themselves within these array of characters listed in the film. They are ready to give in, on even the least amount of empathy oozed by any of those bodies floating around. Aster understands this completely and hence hands over that box of chocolate within the first act of the film. Then, the sadistic language of his starts running soon after you get comfortable.
For this host that you are investing in, the box of chocolate that you have just received, is never given any opportunity to redeem itself. You are left not only dissatisfied but vulnerable. The movie experience that you went out to have is what actually is terrifying, now. All you can do is just experience it. And that very dissatisfaction is satisfying. He brings alive the horror genre that he claims. No 3d, no special effects, pure visual storytelling at its best. Aster also makes annoyance his ammo to torture us. Little things like a cry or a scream, sung in unison or in high pitches, in the middle of the day, in Midsommar, contradicting the environment, the behavior is rude and non-social, not particularly odd.