Ari Aster does not care if you’re comfortable. If his first two films are any indication, it appears that he prefers the opposite. With his debut, Hereditary, Aster approached grief with a macabre twist that winds up making the weight of grief seem feathery by comparison.
With Midsommar, Aster approaches grief with a macabre twist that winds up making the weight of grief seem…am I repeating myself?
Aster’s two films take staid, empty, and largely silent burdens and makes them bleed into
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