Ari Aster's second feature film "Midsommar" is an expertly crafted masterpiece. Though his debut film, "Hereditary," garnered some popularity (considering Toni Colette's lead performance was arguably snubbed for this year's Oscars), Aster significantly improves on a narrative and visual level for his writing and directorial sophomore effort.

Naturally, these two films are destined to be compared to one another, especially with similar content and themes (including the importance of family), but "Midsommar" is a cinematic achievement unlike any other.

At its heart, this film develops the relationship between the worrisome, emotional Dani (Florence Pugh) and her detached boyfriend, Christian. Despite their rocky relationship, the couple travels to Sweden for a mid-summer festival, along with Christian's classmates in his Ph.D. program, where their commitment to one another is put to the ultimate test.

Yet, beyond the character study of the main characters, this film works as an investigation of the strength of familial ties (blood or chosen), the struggle of grief, and betrayal.

Each theme is examined under shocking, grotesque, and at times unnerving circumstances, which leaves the audience no choice but to be uncomfortable while wrestling with each harsh reality addressed. But, what separates this film from other horror films is the terror that it generates does not hide in the dark.

Aster creates an unsettling fear throughout the film, all in broad daylight and, with the addition of exceptionally vibrant cinematography and a bone-chilling score, intense dismay is highlighted from this inescapable brightness.

Additionally, it cannot go without saying, Florence Pugh gives a career-defining performance – one that Academy voters would be mistaken to overlook. She is a tour de force and facilitates intense anxiety that is situated at the forefront of the film's action. The ensemble cast as a whole is magnificent, too, and contribute to a terror in a setting with perilous heat and vivid lighting.

As a result, from the juxtaposition created between colorful imagery and stomach-churning gore, "Midsommar" is not for the faint of heart. There is no denying that some scenes are quite difficult to watch, however, the purpose of the director, in this case, is to disturb the viewers and elicit strong, even uneasy emotions. Thus, without doubt, this film deserves recognition as being exceptionally unique and therefore aiding in the horror/thriller genre recent revival (joining Jordan Peele's masterpieces "Get Out" (2017) and "Us" (2019)).

For the horror genre that for so long has relied on dated tropes, such as jump scares, the supernatural, and/or lurking creatures, "Midsommar" is sincere and refreshing beyond belief, and it deserves significant acknowledgment.

Though, to say someone can thoroughly enjoy this film would be a stretch — that certainly cannot be Aster's intention. One can certainly appreciate what "Midsommar" brings to the table and love its freshness, but the inundation of fright and borderline nausea that this film can cause is unavoidable. That may be appealing for some, especially those that are captivated by the horror genre and the thrills it brings, but others simply will not like this film for how aggressively gruesome it is. And, for that reason, I can understand the criticism that this film draws. It is not the typical, feel-good film that the Academy Awards would even consider giving a nomination to for its most highly regarded category (with the exception of the 1974 phenomenon "The Exorcist").

But, the industry is in need of something new, an injection of quality, innovative films that should be celebrated for their originality.

For this reason alone, voters should find an appeal to "Midsommar," a horror film that pushes the boundaries and does not hold to the representative industry standard. With all its qualities, this film stands alone in its own category. And I have a strong feeling that in order to fully digest this film, multiple viewings are required. That is a quality of tremendous film-making.

Provoke me, challenge me, and leave the audience thinking about the images you purposefully created — that is all that can be asked for from directors when making high caliber films. Excellence in the art of film is not found in laziness, instead, it is discovered with intention and care to subject matter & structure (cinematography, screenwriting, direction, etc.).

All of which, by the way, this film excels in. Bravo, Ari. Bravo, sir.