Ari Aster's controversial and gloomy directorial debut last year, "Hereditary Doom", layered his malice in a straightforward way. In the earthquake of horror movies, the traditional way of scaring, such as Jump Scare, was spat out for a while, and the deep, evil and heart-wrenching narrative methods such as "The Shining" were picked up again by the industry.
This year, Ari Aster brought his second work "A Midsummer Night's Dream" back to the mainstream film and television industry.
It is still a cult theme, still a slow narrative, still a cold and cruel lens language, and it is by no means inferior to its predecessor in terms of sophistication. Even though the story takes place in Sweden in the extreme daytime, even though the splendid sun and the delicate colors soothe the audience's tense nerves, the rotten and coquettish flower of evil behind the brilliance is growing wildly.
Countless religious symbols bewitch the protagonist and the audience in front of the screen like a fog. Ari Aster carefully pours malice into every gap that can be seen by the naked eye. Under this high wall painted with evil, every It is difficult for any viewer to empathize with or hate any one character in the story. What has changed in place is the tendency to go with the flow of mountains and rains. When the movie is over, it is difficult to describe how you feel at that moment. After all, in the kingdom of evil, there is nothing but nothingness.
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