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Midsommar (2019)

2:25 | Trailer
A couple travels to Sweden to visit a rural hometown's fabled mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.


Ari Aster


Ari Aster
26 ( 12)

'Midsommar' Director Breaks Down the Trailer

Writer/director Ari Aster breaks down genre expectations, The Wicker Man influences, and how he wants audiences to feel after his "break-up film," Midsommar.

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Masaru just retired and he and his wife Yukiko are expecting to have a quiet life with their cat, CHIBI, after their kids have left home.Yukiko feels that she was abandoned by her husband, ... See full summary »

Director: Syoutarou Kobayasi


Cast overview, first billed only:
Florence Pugh ... Dani
Jack Reynor ... Christian
Vilhelm Blomgren ... Pelle
William Jackson Harper ... Josh
Will Poulter ... Mark
Ellora Torchia ... Connie
Archie Madekwe ... Simon
Henrik Norlén ... Ulf
Gunnel Fred ... Siv
Isabelle Grill ... Maja
Agnes Westerlund Rase Agnes Westerlund Rase ... Dagny (as Agnes Rase)
Julia Ragnarsson ... Inga
Mats Blomgren ... Odd
Lars Väringer ... Stev
Anna Åström ... Karin


Dani (Florence Pugh) and Christian (Jack Reynor) are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing. Written by A24 Releasing

Plot Summary | Plot Synopsis


Let the festivities begin

Motion Picture Rating (MPAA)

Rated R for disturbing ritualistic violence and grisly images, strong sexual content, graphic nudity, drug use and language | See all certifications »

Parents Guide:

View content advisory »



USA | Sweden


English | Swedish

Release Date:

3 July 2019 (USA) See more »

Also Known As:

Midsommar See more »

Filming Locations:

Budapest, Hungary See more »


Box Office

Opening Weekend USA:

$6,560,030, 7 July 2019

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Production Co:

B-Reel Films, Square Peg See more »
Show more on IMDbPro »

Technical Specs


| (Director's Cut)

Sound Mix:

Dolby Digital (Dolby 7.1)



Aspect Ratio:

2.00 : 1
See full technical specs »

Did You Know?


Despite the Swedish setting, the film was mostly shot in Hungary. See more »


Dani misspells the word "something" as "somehting" in her last direct message to her sister. See more »


Maja: [In Swedish] I can feel it. I can feel the baby.
See more »


Referenced in Doug Reviews: Midsommar (2019) See more »


The Sun Ain't Gonna Shine (Anymore)
Performed by Frankie Valli
Written by Bob Gaudio and Bob Crewe
Published by Seasons Four Music (BMI) and EMI Longitude Music (BMI)
Courtesy of Rhino Entertainment Company / The Four Seasons Partnership
By arrangement with Warner Music Group Film & TV Licensing
See more »

Frequently Asked Questions

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User Reviews

An Operatic Catharsis On Emotional Dependency
10 July 2019 | by DjMethodSee all my reviews

"I have always felt held. By a family... a real family. Do you feel held?"

One of the most universal and innately human desires is a sense of belonging. The human brain is not meant to be alone; we are evolved to be a part of something. Belonging fundamentally allows us to form our own sense of identity, establish social connections through community, and provides us with love, attention, security, and purpose. Perhaps more importantly, a lack of belonging is when we begin to lose sense of ourselves and who we are. This loss of touch with who we are when the world around us suddenly disappears... this slight loss of footing, dip in reality, always feeling somewhat displaced and perpetually unsettled... this encapsulates the mood of Ari Aster's Midsommar.

Aster has delivered a psychedelic genre-defying horror fable that wins its audience by creeping into our darkest corners of angst, longing, and loneliness. At its core, the film is about a young woman who copes with crippling anxiety rooted in a desperate and fearful need for love as she comes to terms with the end of a relationship. It's about anxiety, fear of abandonment, and moving on. It is a meditation on human belonging; an operatic catharsis played on the strings of emotional dependency; a journey both inward and outward, to finally let go of something that was never meant to be.

Midsommar is not a mystery or suspense movie. It unveils itself unapologetically, as if the filmmaker has no intention of hiding anything from us in the first place (the entire movie is visually depicted almost constantly in the background on walls or tapestries). Yet the film establishes its own rhythm and pacing. As the characters embark on a mushroom trip and grow weightless and spacey, so do we get entranced by the beautiful Swedish settings and sounds-at times indistinguishable from flutes being played by characters on-screen, and at other times, woven with a spell-binding aural hypnosis (listen to "Attestupan" without falling into a meditative trip).

Like Hereditary before it, the casting is exceptional. Florence Pugh portrays and embodies isolation and anxiety so effectively that the ideas feel nearly concrete. Her part as Dani demands an incredible range and her commitment to the role is apparent. Her character has an air of desperation to her. A perfect casting for a lonely soul. Jack Reynor, a critical piece to this opera as the unlikeable and detached boyfriend, also delivers in a solid performance that leaves us conflicted, or at the very least, challenged.

If Satan and Cannibal Corpse got together to shoot Blue Valentine in Sweden, I'd imagine it would be something like Midsommar. Aster taps into a dark and vulnerable place-he opens the door to chests you may have locked away and have had no intention of coming back to. If you've gone through a break-up recently, it may resonate even stronger. It's uncomfortable, unpleasant, but ultimately, cathartic.

The director goes on to describe the film as almost a perverse wish-fulfillment fantasy. You see what you want to see. The inclusion of this overarching idea bears a universal relevance to how we can behave in the midst of the most toxic relationships. Entering the ethereal fog of Hårga perhaps a metaphor for willfully indulging in our clouded judgment to escape our fears.

If Hereditary was a thematic exploration of inescapable fate, Midsommar is a tighter, more centered thematic reflection on emotional dependence. The thought given to the characters and script and the details within the various shots, symbols, and sounds will all surely leave many viewers coming back for more.

Plan to watch it twice, if for nothing else, to drink the tea again.

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