Reflecting on the 'Midsommar' Screenplay

*Spoilers ahead*

In the wake of Halloween, 'Midsommar' was the perfect film to escape into, breaking free of dreary, rainy Durham into the eerie, operatic summertime of Hårga. It was my second viewing and with a knowledge of what was to come, I found myself far more drawn to Dani's trauma and her complicated, infuriating relationship with her boyfriend of 4 years, Christian. Often described as a break-up movie, this film is much more than your typical horror film and Aster's screenplay certainly reflects this.

THE 'INCITING INCIDENT'

Both 'Hereditary' and 'Midsommar' begin with a crucial, harrowing event right at the start of the narrative that simultaneously fixes the audience's eyes to the screen and sets the story into motion, hinting at what is to come. Yet, unlike how 'Hereditary' takes slightly longer to reach the moment that truly transforms everything, Aster doesn't hold back with the traumatising glimpse at Dani's sister's suicide and the death of her parents, jumping into a nightmarish scene only a few minutes into the film. Not only does this pivotal moment construe the mood for the rest of the movie but it also showcases exactly how Dani will react and cope with difficult moments and horrifying events as the plot continues.

(For budding screenwriters: Can you think of any other screenwriters that include an 'inciting incident in their films? Would you include one in a screenplay and how would it change the way you write?)

PSYCHEDELICS

The impact of family trauma on Dani's mental state is depicted so artfully throughout the film, especially in the scene when she experiences a bad trip on shroom tea. Aided with incredible sound design and visual effects, Dani's rising panic is so explicit to the audience without being at all overstated. Aster takes advantage of altering perspectives and easily emphasises how Dani's perception has changed but never takes away from the authenticity of her experience. The warping of the trees and her strange hallucinations are subtle, with a greater focus on her dialogue: muttering "No, no, no, no --" to herself, her vulnerability and frustration are eerily transparent. Still close to the start of the film, Aster is patient and slowly unnerves the audience, foreshadowing the intensity of her anxiety that will continue to grow throughout.

THE DENOUEMENT

The ending of this film has fascinated critics and confused audiences, splitting opinion and spurring debate. As seen below, Dani, as the appointed May Queen, watches her boyfriend, Christian, burn in the shed inside of the bear and ends the film grinning ecstatically, receiving the ominously happy ending that she deserves.

Aster has proclaimed that Dani "is finally able to liberate herself from her 'dead weight' and she finds a new family.” In fact, he draws attention to how "for most of the people visiting this village, this community, this is a folk horror movie. But for Dani, for our main character, it's a fairy tale.”

The oxymoronic nature of Aster's ending description, "It is horrible and it is beautiful", highlights the bizarre tone of the final scene so simply and yet so perfectly. His explanation that "She is Queen. She is not alone." highlights how Dani is no longer trapped without anyone who shows her affection and support. She has found her community.

Focusing on Aster's description that "She has lost herself completely, and she is finally free.", Florence Pugh has explained in numerous interviews that she fundamentally believes that her character has lost her sanity to such an extent that she was unaware of what was going on around her, without a clue that Christian was actually burning. She underlines how "I didn’t want her to be evil at the end"- “I thought it would be so interesting to have the love of her life in the building and she’s a kid looking at a firework. That’s how I imagined it, saying, ‘This is someone that’s completely gone now. She doesn’t realize what’s going on, and she’s just really happy the fire is going up.’ So when we shot it, that’s what I was trying to get at.” Yet, Aster himself could not fully commit to this interpretation, stating that “I wouldn’t agree with there ever being an iteration of the movie where she didn’t know he was burning".

This divided opinion and the variety of responses to such a brief moment at the end of the film encapsulates the strength of Aster's writing. Dani's character does not lend itself to easy clarity. In fact, none of the characters do. Every moment of this film could be interrogated in such depth. The screenplay is complicated, clever and horrifying and definitely worth a read. I can't wait to see what Aster writes next.

Interested in delving into Aster's world? Check the script out here.

(For budding screenwriters: What was your favourite scene in the film? What is your interpretation of the ending? What can you learn from Aster's writing?)