---
title: "Midsommar"
year: 2019
kind: "film"
canonical: "https://film.one/film/midsommar"
fi1m_id: "midsommar"
imdb_id: "tt8772262"
tmdb_id: 530385
wikidata_id: "Q55907451"
fi1m_score: 79
critics_score: 72
critics_reviews: 22
published: "2026-09-16"
updated: "2026-09-18T08:38:37.795500+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Midsommar (2019)

Directed by Ari Aster · 2h 27m · MPA R · Horror, Drama, Mystery

## Identity

Midsommar

- **Canonical:** https://film.one/film/midsommar
- **Type:** Film
- **Fi1m ID:** midsommar
- **IMDb ID:** tt8772262
- **TMDB ID:** 530385
- **Wikidata ID:** Q55907451
- **Same entity:** https://www.imdb.com/title/tt8772262/, https://www.themoviedb.org/movie/530385, https://www.wikidata.org/wiki/Q55907451

**Fi1m score: 79** · Critics 72 from 22 reviews

*In a sentence:* The sunshine is relentless, the welcome is warm, and the boyfriend is no help at all

> Ari Aster makes a relationship falling apart painfully convincing inside an unnerving, sunlit folk horror. Florence Pugh gives the film its force, though the elaborate festivities run longer than they need to.

## Synopsis

Dani (Florence Pugh) is grieving, and her relationship with Christian (Jack Reynor) is coming apart. A visit to Hårga, a Swedish commune, brings them into a midsummer celebration, with Josh (William Jackson Harper) and Mark (Will Poulter) among the visitors. In the long daylight, the community welcomes its guests with smiles and pagan festivities. Dani wants comfort and a sense of belonging, but Christian offers little reassurance and the rituals follow rules the outsiders do not understand. As the celebrations draw the visitors in, the strain between the couple becomes harder to keep private.

## Review

*Midsommar* is an unnerving, sometimes funny horror film whose strongest reason to watch is Florence Pugh. Ari Aster puts a grieving woman and her failing relationship inside a Swedish commune, then makes the welcome steadily more troubling. The daylight matters: there is no reassuring distinction between the hours when people socialise and the hours when a horror film gets down to business. We recommend it for that persistent discomfort, with a warning that 147 minutes gives the festivities rather more room than they need.

Dani needs more reassurance than Christian seems willing to give, and Florence Pugh makes that need uncomfortable to witness without making it contemptible. She lets the grief interrupt any possibility of enjoying the occasion; being somewhere pleasant cannot make it stop. We found her distress harder to watch than the gore. It is the effort of remaining among other people while feeling so isolated that got to us, and the performance keeps that loneliness present even when the ceremonies demand our attention.

Jack Reynor is effective as Christian because he does not make a bad boyfriend automatically fascinating. His lack of reassurance is ordinary enough to recognise, which makes Dani’s position more painful than a grand confrontation would. Around them, Ari Aster finds black comedy in the friction between the visitors and the people receiving them, with Will Poulter’s Mark helping to loosen the solemnity. Some of that humour is broad enough to interrupt the dread, but the film benefits from allowing us to laugh.

Pawel Pogorzelski’s cinematography makes the brightness oppressive without sacrificing the appeal of the place. We can see the village clearly and still struggle to judge it; those welcoming smiles do not settle anything. Henrik Svensson’s production design makes the commune convincing as somewhere people live, with customs that matter to them. The surroundings hold our attention, and the care given to the ceremonies makes the outsiders look unprepared, although occasionally we wish the film would spend less time asking us to inspect everything.

Lucian Johnston’s editing lets the discomfort accumulate, but the slow pace also makes the film’s intentions too easy to anticipate. Once the hospitality has begun to feel wrong, further reassurance from the hosts does not always make it more frightening. Bobby Krlic’s music helps hold the unease through these longer stretches, though it cannot make every pause necessary. There are stretches when we have understood the danger and are simply waiting for the visitors to catch up.

Ari Aster’s writing is less persuasive when it moves away from Dani. The other visitors too often seem to be there because a folk-horror story needs outsiders, and their responses can feel arranged to keep the festivities going. That weakness matters because the film asks us to take emotional injury seriously, then gives some of its people little emotional life. Florence Pugh prevents the central story from becoming merely another item on the programme, but she has more work to do than she should.

Within folk horror, the commune and its rituals are familiar territory; the film cannot depend on their presence alone to surprise us. What distinguishes *Midsommar* is the attention paid to Dani’s grief, and the discomfort of seeing communal warmth offered to someone who needs it badly. That makes the long stretches of ceremony worth sitting through, even when we can feel the film labouring. Choose it for a horror evening when there is time to be unsettled slowly, and do not expect the daylight to soften the experience.

*Fi1m score 79, published 16 September 2026.*

## What the critics say

Most critics respond warmly to Midsommar, with praise clustering around Florence Pugh’s performance and Ari Aster’s use of bright daylight to sustain dread. Pugh gives the story of grief and relationship breakdown an emotional centre that even several sceptical reviews value. The cinematography, detailed commune setting and uneasy mixture of ritual horror and black comedy also draw broad approval, though several admirers find it less frightening than Hereditary.

The spread is wide, with disagreement chiefly over pacing, character depth and how much the elaborate horrors have to say. Supporters find a rewarding account of trauma and belonging; others see thin subplots, familiar motifs and a film that lingers too long over its rituals. Polygon praises the early relationship drama but finds little meaningful development once the festival begins, while The New Yorker takes a harsher position, arguing that striking images substitute for developed characters and convincing psychology.

## Straight answers

**Is Midsommar worth watching?**

*Midsommar* is worth watching for anyone who wants a horror film that unsettles slowly rather than by shocks, and we scored it 79. Florence Pugh's grieving Dani is the reason to see it, and the failing relationship at its centre is painfully convincing. Be warned that 147 minutes gives the sunlit festivities more room than they need.

**How long is Midsommar, and what is it rated?**

*Midsommar* runs 2h 27m and is rated R by the MPA in the US. It is a horror and drama film.

**Where can I watch Midsommar in the US?**

*Midsommar* is streaming on HBO Max, Tubi, Amazon Prime Video, Hulu and The Roku Channel in the US, and it is also available to rent from Apple TV and Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Midsommar, and is it suitable for children?**

*Midsommar* carries an 18 certificate in the UK and is not suitable for children. It contains gore, though we found Dani's distress harder to watch than the violence, and the dread builds steadily in broad daylight rather than arriving in jolts. Adults who dislike sustained unease, or who need a story to hurry, may find it a hard evening.

**How does Midsommar compare to The Wicker Man?**

*Midsommar* and [*The Wicker Man*](https://film.one/film/the-wicker-man) both send a wary outsider into a community whose hospitality comes with conditions, but Ari Aster's film is about grief and a collapsing relationship as much as about ritual. Robin Hardy's film is the tighter of the two and the funnier, if a little stiff in places. Choose *Midsommar* for Florence Pugh and slow discomfort, *The Wicker Man* for a brisker, stranger folk horror.

**What should I watch after Midsommar?**

After *Midsommar*, try [*The Wicker Man*](https://film.one/film/the-wicker-man) (1973, Fi1m 90): A wary outsider meets a community whose hospitality comes with conditions. Then [*Picnic at Hanging Rock*](https://film.one/film/picnic-at-hanging-rock) (1975, Fi1m 88): Bright daylight and immaculate manners offer little protection from gathering unease; and [*Thelma*](https://film.one/film/thelma-and-louise) (2017, Fi1m 85): Desire, repression and supernatural dread converge around another young woman in distress.

### Reviews we read (24)

- **Time Out**, Joshua Rothkopf (5/5): Aster delivers a savage, evolved slice of Swedish folk horror that proves him a master of the genre, with hypnotic choreography, strong performances from Florence Pugh and others, and a stealth revisionist take on horror conventions. The constant sunlight setting and sound design heighten the unnerving effect. [Read](https://www.timeout.com/movies/midsommar)
- **Empire**, Nick de Semlyen (90/100, inferred): Aster has conjured an even madder and more ambitious nightmare set in sunny Sweden, the polar opposite of Hereditary yet every bit as unsettling, with clinical precision in its descent from paradise. It is a visceral, unique, utterly fucked-up experience that demands to be seen on the big screen, with extraordinary performances from Pugh and Reynor. [Read](https://www.empireonline.com/movies/reviews/midsommar/)
- **Evening Standard**, Charlotte O'Sullivan (85/100, inferred): Ari Aster’s follow-up to Hereditary is another morbid masterpiece full of electrifying performances, dialogue and camerawork that encourages rethinking suicide, euthanasia, mental illness and urban existence. It is the feel-mad movie of the decade, with Florence Pugh never better and a feminist classic ending. [Read](https://www.standard.co.uk/culture/film/midsommar-review-morbid-horror-is-the-feel-mad-movie-of-the-decade-a4180766.html)
- **The Guardian**, Peter Bradshaw (85/100, inferred): The critic calls the film an outrageous black-comic carnival of agony and a thoroughly enjoyable crescendo of paranoid trippiness that builds to an uproarious grossout. Florence Pugh's performance as the grieving Dani and the film's sensual, self-aware folk-horror atmosphere are singled out for praise. [Read](https://www.theguardian.com/film/2019/jul/03/midsommar-review-ari-aster-florence-pugh)
- **The AV Club**, A.A. Dowd (B+): A deranged and funny folk-horror nightmare with sprawling ambition and a stunning ending that achieves terrible transcendence. The critic praises the film's willingness to embrace the darkest aspects of human desire but notes it is less perfectly crafted than Hereditary. [Read](https://www.avclub.com/midsommar-is-a-deranged-and-funny-folk-horror-nightm-1835707585)
- **Film Comment**, Madeline Whittle (80/100, inferred): The critic highlights Florence Pugh’s compelling performance as the anchor for a story of grief and relationship breakdown that leads the protagonist toward a Swedish commune’s rituals. Aster’s film is praised for its tonal range, visual precision, and thematic focus on alienation and tribal belonging, surpassing his previous work in dexterity. [Read](https://www.filmcomment.com/review-midsommar/)
- **Los Angeles Times**, Justin Chang (80/100, inferred): The critic praises the film's bright, dreamy daylight horror and visual command, its exploration of grief and trauma, and Florence Pugh's performance, noting Aster's growing confidence even if it is less overtly frightening than Hereditary. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-midsommar-review-florence-pugh-20190701-story.html)
- **The Times**, Tom Shone (★★★★): The film is praised as a consummately crafted cinematic freak-out that positively crackles with hysterical terror, using daylight and exposure rather than darkness for its scares. Pugh's performance as Dani and Aster's handling of emotional trauma and pagan rituals are highlighted. [Read](https://www.thetimes.com/world/us-world/article/midsommar-review-for-those-who-like-their-horror-deeply-disturbing-5npw0c9kr)
- **Total Film** (75/100, inferred): Midsommar features a standout performance from Florence Pugh and an expertly assembled atmosphere of dread. It is an extremely immersive film experience, even if it lacks the propulsion and all-consuming terror of Hereditary. [Read](https://www.gamesradar.com/midsommar-review/)
- **Little White Lies** (4/3/2): Aster’s follow-up to Hereditary disappoints by rehashing similar themes of grief and trauma in a less original way, with the pagan festivities concept underexplored and the gore oddly sedate. Florence Pugh’s performance stands out amid meandering execution and recycled motifs. [Read](https://lwlies.com/reviews/midsommar)
- **Radio Times**, Dave Aldridge (3/5): The film is an enjoyably daft but long-winded riff on The Wicker Man that effectively uses broad daylight and smiles to cloak darker designs for a time. The novelty wears thin over an overlong runtime, lacking the impact of the original classic. [Read](https://www.radiotimes.com/movie-guide/b-duggnt/midsommar/)
- **Screen Daily** (60/100, inferred): Aster’s follow-up is a wild, sometimes hypnotic but occasionally overcooked sojourn into surreal horror in a perpetually sunlit Swedish setting. Florence Pugh anchors the film amid bold flourishes that occasionally fall flat and plotting that stumbles at times. [Read](https://www.screendaily.com/reviews/midsommar-review/5140496.article)
- **Variety**, Andrew Barker (60/100, inferred): The critic finds Aster's ambitions outpace execution in this strange but thematically muddled folk horror follow-up; it is neither masterpiece nor disaster, with strong visuals and Pugh's performance undermined by slow pacing and thin subplots. [Read](https://variety.com/2019/film/reviews/midsommar-film-review-1203247188/)
- **Vulture** (60/100, inferred): An ambitious but blurry horror trip that offers a sunnier alternative to Hereditary's horrors through a pagan cult story. The critic singles out Florence Pugh's vivid performance and the elemental design of the Hårga village for praise, while faulting the lack of surprises and bifurcated impulses. [Read](https://www.vulture.com/2019/07/midsommar-review-ari-asters-ambitious-blurry-horror-trip.html)
- **The New Yorker**, Richard Brody (30/100, inferred): The critic views the film as regressive, built backwards around striking horror images rather than developed characters or psychology, with a thin central relationship and a smug critique of cultural relativism and anthropology. [Read](https://www.newyorker.com/culture/the-front-row/midsommar-reviewed-ari-asters-backwards-horror-story-of-an-american-couple-in-sweden)
- **Sight and Sound**, Roger Clarke: The critic finds the film a daft, hallucinogenic folk-horror in the vein of The Wicker Man, with strong research into European folkloric traditions and excellent art direction and cinematography in constant sunlight. Some fratboy comedy touches and a shift from great to merely very good are noted as minor flaws. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/midsommar-review-ari-aster-brews-tisane-terror)
- **The Hollywood Reporter**, John DeFore: A confident follow-up to Hereditary that is more unsettling than scary. The critic singles out Aster's detailed conception of the Swedish community and its folkways for praise, while noting the film remains too entertained by its exotic rituals to reach deeper emotional depths. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/midsommar-review-1219644/)
- **Collider**, Haleigh Foutch (A-): Aster reframes a toxic breakup as folk horror in a bright, hallucinatory Swedish commune setting. The critic singles out Florence Pugh’s raw, dynamic lead performance for particular praise alongside the film’s visuals and unexpected humor. [Read](https://collider.com/midsommar-review/)
- **Consequence** (80/100, inferred): Aster delivers a deliberate, visually striking mindfuck that mixes dread, gallows humor, and ritual horror without relying on jump scares. The critic highlights Pugh’s nuanced performance and the film’s unsettling yet audience-friendly execution as its strongest elements. [Read](https://consequence.net/2019/06/film-review-midsommar/)
- **Den of Geek**, Rosie Fletcher (4/5): The review calls Midsommar a gorgeous, inventive, and effective folk horror with a standout central performance from Florence Pugh, cementing Aster as a major voice despite not matching Hereditary’s intensity. It notes the film’s rewarding personal story of grief and breakup amid striking daylight visuals and occasional meandering. [Read](https://www.denofgeek.com/movies/midsommar-review-a-beautiful-nightmare/)
- **Deadline**, Pete Hammond (75/100, inferred): The critic describes the film as a disturbing, mind-messing original horror piece with striking visuals and inventive execution by a skilled filmmaker. It singles out the unusual bright daylight setting and graphic human toll for note, while cautioning it is not for everyone. [Read](https://deadline.com/video/midsommar-review-jack-reynor-florence-pugh-ari-aster/)
- **The Ringer**, Adam Nayman (70/100, inferred): Aster’s follow-up blends grief, toxic relationships, and pagan ritual into an ambitious, tonally mixed sunlit nightmare that echoes The Wicker Man. The critic praises its grotesque humor-horror fusion and cultural-clash themes while noting it may frustrate some viewers. [Read](https://www.theringer.com/2019/07/02/movies/midsommar-review-ari-aster)
- **Polygon**, Jenna Stoeber (50/100, inferred): The film offers sumptuous visuals and strong early relationship drama but fails to find deeper meaning in its horrors once the festival begins. The critic singles out the impeccable production design and Pugh’s performance while faulting the lack of follow-through and pacing issues. [Read](https://www.polygon.com/2019/7/2/20679113/midsommar-review-ari-aster-florence-pugh/)
- **The Wrap** (40/100, inferred): The critic finds the film muddled and underwritten, with characters making irrational decisions that keep viewers at a distance despite the cult premise. It singles out the striking cinematography for praise while complaining about the lack of character depth and empathy. [Read](https://www.thewrap.com/midsommar-film-review-ari-aster-florence-pugh/)

## Details

- **Director:** Ari Aster
- **Director:** Ari Aster
- **Writer:** Ari Aster
- **Cinematography:** Pawel Pogorzelski
- **Editor:** Lucian Johnston
- **Music:** The Haxan Cloak
- **Production design:** Henrik Svensson
- **Producer:** Lars Knudsen, Beau Ferris, Patrik Andersson
- **Cast:** Florence Pugh as Dani; Jack Reynor as Christian; William Jackson Harper as Josh; Will Poulter as Mark; Vilhelm Blomgren as Pelle; Isabelle Grill as Maja; Gunnel Fred as Siv; Ellora Torchia as Connie
- **Runtime:** 2h 27m
- **Certificate (MPA):** R
- **Release (the US):** 3 July 2019
- **Genres:** Horror, Drama, Mystery
- **Budget:** $9 million
- **Box office:** $48 million
- **Trailer:** https://www.youtube.com/watch?v=1Vnghdsjmd0

## Where to watch in the US

- HBO Max: streaming, uhd
- Tubi: free
- Amazon Prime Video: add-on, uhd
- Hulu: add-on, hd
- The Roku Channel: add-on, hd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: buy $14.99, hd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-16.*

Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, IE, IN, IT, JP, KR, MX, NL, NO, NZ, PA, PL, SE, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Wicker Man* (1973), Fi1m 90: A wary outsider meets a community whose hospitality comes with conditions. — [Fi1m page](https://film.one/film/the-wicker-man.md)
- *Picnic at Hanging Rock* (1975), Fi1m 88: Bright daylight and immaculate manners offer little protection from gathering unease. — [Fi1m page](https://film.one/film/picnic-at-hanging-rock.md)
- *Onibaba* (1964): Rural isolation, sexual jealousy and practical cruelty make the horror feel uncomfortably close.
- *The Invitation* (2015): A social gathering turns strained politeness into a reason to stay afraid.
- *Thelma* (2017), Fi1m 85: Desire, repression and supernatural dread converge around another young woman in distress. — [Fi1m page](https://film.one/film/thelma-and-louise.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/midsommar