#ITS STILL EUGENICS AND FASCISM EVEN IF IT COMES FROM SOMEONE WITHIN THE DISABLED COMMUNITY

[oliveasaltylife]

So funny* to me when very loud disability “activist” type folx will angrily post about needing necessary accessibility accommodations and then turn around posting maskless selfies in public. Your lateral ableism is showing and it’s louder than you intended it to be.

*By funny I mean completely infuriating, but laughing helps me cope

[unpack-my-heart]

Midsommar spoilers ahead – read at yer own risk.

This post contains discussions of suicide, murder-suicide, graphic ritualistic violence, dissociation and mental illness. These are triggers that also apply to the film, so please be careful if you decide to go and see this film.

I went to see Midsommar last night. I thought it was a fantastic film, that raised a lot of interesting themes about gaslighting, dissociation, belonging, fascism and free will.

I’ll start with the cinematography. This film is gorgeous. The scenery is so beautiful it’s almost unbelievable – rolling greens and constant blue skies. Probably not the normal setting for a horror film, right? Compare this to the cinematography of Aster’s other film, Hereditary, with its bleak, oppressive constant grey-tone, and you’d be forgiven for thinking that Midsommar was a departure from the horror genre all together. This works in Midsommar’s favour, though. It’s horror in broad daylight, constant daylight. I think it’s important to remember that the horror genre is not, and should not, be limited to just gruesome torture porn, or an endless assault of blood, gore and guts. I mean, I like bloody horror as much as the next person, but that is not where the genre should begin and end. Of course, Midsommar has some incredibly gruesome aspects (meaning that in Britain, the film has received a rating of ‘18’). The suicide of the two elderly members of the Hårga is played on screen with an unflinching gaze, and it is about as shocking as shocking gets. Especially when the elderly man jumps in such a way that he doesn’t immediately die, and instead shatters his legs. The other Hårga members caving in his skull with a large wooden mallet elicited pained gasps from many of the people sat in the cinema with me. It was brutal. But the main thing I took away from the film was an unrelenting reminder that grief is a transformative experience – not always for the better – and that vulnerable people can be drawn to bad people, bad organizations, or to make bad decisions, and we must question whether this means they are irredeemable.  

This is actually where I started thinking about free will. The Hårga are a community bound by tradition. Their lives are to be a predetermined length, and within this, their lives are divided up into four ‘seasons’ of equal length. At the end of the winter of their lives, the period spanning 54 years old to 72 years old, you are expected to walk (literally) willingly, and freely, to your death. This is exactly what the two elderly members I just mentioned do. They are carried on sedan chairs to the top of a cliff, and then throw themselves to their deaths. Whilst I must be careful of cultural imperialism, I couldn’t help but wonder how much agency the Hårga have. Is this suicide an expression of free-will or an example of coercion driven by traditional practice? We can only speculate, but I wonder what would happen if someone refused to die at the predetermined age. This really cemented to me that the Hårga are not a peaceful community living in a psychedelic Swedish plane, but are in actuality, uncomfortably close to eco-fascism.

According to eco-fascist ideology, you’re expected to sacrifice your life in order that the group more generally can protect the interests of nature more broadly. This goes some way as to explain why the elderly members of the community, who are statistically more likely to be suffering from disease, ill-health or infirmity, are coerced to take their own lives. They have fulfilled their purpose, and they are invited? forced? to remove themselves from society. This is, of course, a society that is absolutely, entirely white. The only non-white bodies in the community are those of Josh, Simon and Connie – and these people end up dead, murdered in increasingly disturbing ways. Josh is killed whilst trying to take pictures of the Rubi Radr (the sacred text of the Hårga) – something he was explicitly forbidden to do – and his body is dragged away by a member of the Hårga who is wearing Mark’s skinned face as a mask. Connie and Simon both disappear at different points in the story, and both turn up dead. Simon is executed in a particularly graphic way – he is suspended in the chicken coop, as a blood eagle. The blood eagle is a form of ritualistic murder detailed in the Germanic and Nordic sagas, wherein the ribs are broken and the lungs are pulled out of the body, in such a way so that they look like ‘wings’. Simon’s lungs seem to inflate and deflate, as if they were breathing, but we cannot be sure whether he is still alive, or whether this is caused by Christian’s drug-addled brain.

This is where the film becomes uncomfortable for me. Connie and Simon are … very minor characters in this film. They don’t really serve any purpose other than to be tormented, murdered, sacrificed. They do not really interact with the main protagonists (Christian, Dani, Josh, Mark), other than a few pleasantries at the beginning, a shared horror at the suicide of the elders, and a very brief interaction between Connie and Dani when Connie discovers that Simon has ‘left the commune without her’. I am uncomfortable with calling Midsommar an explicitly feminist film as I believe the treatment of Connie, a sidelined, innocent, brown woman, who is brutally killed for no apparent reason other than her status as Other violates any claim the film might otherwise have as being explicitly feminist. But maybe this isn’t the point. I don’t think Midsommar has to be ‘explicitly feminist’ in order to make very valid points about how a very specific kind of female pain, grief and trauma is often ignored and overlooked. Connie’s body violates the very specific white ableness championed by the Hårga, and her experience as Other legitimizes her death. Dani’s body, a white body that does not violate any of their traditions, is permitted to live. She is permitted to access the underbelly of the commune, but this comes at a price, and I believe that price is a combination of her sanity, her sense of self, and any remaining link she had to her past.

That’s what I think Florence Pugh was so unbelievably good at depicting. I was absolutely blown away by her ability to howl like that. That sort of primal, unabashed screaming. I think the two times she -really- cries set up a really interesting dichotomy between female pain and male reactions to female pain. The first time that Dani really howls is when her parents and sister have died. It is dark, she starts this sort of crying whilst alone over the phone, and then Christian is with her but he feels entirely distant from her. The room is dark, he is rubbing her back and she is draped over him, but he feels entirely emotionally removed from the situation - he is not participating in her grief, he doesn’t look that affected by it. His presence makes the scene feel just that little bit more jarring. Actually, does he even say anything to her? As far as I remember, no he does not. She tells him they’ve died, we see a shot of him walking through the snow to her apartment, and then they’re in the apartment. He says nothing. The only noise is Dani’s screams. He is entirely silent. Compare this to the second time she howls, when she’s surrounded by the female members of the Hårga. This scene is entirely different. It’s light, and she’s surrounded by women who are touching her, caressing her, but most importantly, screaming with her. They howl and cry and scream with her. They are her perfect mirrors. They are ACTIVELY PARTICIPATING in her grief, they share in her trauma. This was probably the most harrowing shot of the entire film for me. Not the gore, not the mutilated bodies – but a woman, screaming and howling like a wounded animal, and having a horde of sympathetic women scream back at her. It’s hard to not feel drawn into this community. It’s hard to not forget the evil things they have done, or are willing to do. That is precisely what is so dangerous about the Hårga, or more generally, this very specific brand of eco-fascism.  

Some quick fire symbolism stuff that I picked up on:

the symbolism of Christian wearing dark clothing and standing away from the rest of the group when they were celebrating Dani becoming the May Queen. The way he lurches around, looking entirely out of place - she is sat at the head of the table - dressed as they are, crowned with flowers, nature moves with her - she has basically entirely assimilated - he is still outcast.

I thought it was really interesting that the group of women during the dub-con Christian/Maya sex scene mirrored how Maya was feeling. I think the focus on women mirroring each other, appropriating and absorbing how each other is feeling is a fascinating detail.  Christian, on the other hand, looks out of place in that room, a male body who only has one purpose and then is entirely redundant. This is reinforced by the bit where the girl he is sleeping with holds her hand out and he tries to grab it but instead one of the women grabs it. He basically serves no purpose beyond impregnating her - and even then he isn’t even that good at it, because one of the other women has to push on his butt to push him along in the process. Women as being the most active and present in sex, men just … seed? Is this a subversion of how sex is usually seen?

The disabled boy seems to serve no purpose in society other than being the oracle - he does not participate in the banquet or any of the celebrations. He is almost never on screen, apart from a few very close up shots of his face, and one occasion where the camera shifts to him from the sex scene  -  a very jarring decision, in my opinion. Panning to him during the sex scene was super interesting and really not expected. It was an interesting visual choice, and it made me think about whether the point was to emphasise how he will presumably never participate in sexual acts etc. because of the eugenics practiced by the Hårga. This was a pretty damning condemnation of the Hårga as an eco-fascist group who actively engages in eugenics/”selective breeding”. You can definitely see links here between the growth of fascism and eugenics in the early 20th century and the practices of the Hårga.

I really liked how the entire time they were at the commune almost felt like … a fever dream in a distant fairytale land. Walking through the large sun at the beginning, having to trek through the fields to get there, everything looking very idyllic and exactly how a young child would imagine a Swedish landscape to look. The perfect environment to discuss dissociation, in my opinion.

These are some scattered thoughts I had after viewing the film!!

Overall, I really enjoyed it, despite some of the troubling social themes, and it’s another absolute win for Aster in my book.