![]() ![]() In Aster’s filmography thus far, he has shown a surprisingly effective aptitude for being able to inhabit the most sacred and distinct aspects of womanhood. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult. In Midsommar, a couple in turmoil and on the verge of break-up travel to Sweden with their friends to experience the midsummer festivities of a rural commune. However, I would argue that the lifeblood of Midsommar exists in a less obvious element: the film is radically feminist and, beyond that, a celebration of the very base and primitive ideas of womanhood. Upon viewing the film, some themes present themselves instantly: empathy, family, and an interesting meditation on toxic − as well as symbiotic − codependency. It comes as no surprise that Midsommar, the second feature film of director Ari Aster ( Hereditary), is packed to the brim with explorations of internal horror and grounding realism blended with the bizarre and bloody. 8 Monstrous Womanhood and the Unapologetic Feminism of ‘Midsommar’. ![]()
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