Archives for posts with tag: Sweden

Midsommar

When some guy named Ari makes a movie about the revival of native European spirituality, you pretty much know what to expect. Midsommar has anthropology student Christian (Jack Reynor) taking emotionally distraught girlfriend Dani (Florence Pugh) to Sweden to study the religious observances of a rustic pagan community. Unsurprisingly, the hospitality of the Swedes turns out to mask the murderousness of a human sacrifice cult. Essentially a Wicker Man for the twenty-first century, Midsommar seeks to improve on its model by imbuing itself with seething hatred of whites and offensive levels of graphically depicted gore. Plodding and seemingly interminable at two hours and twenty-eight minutes, and overstaying its welcome by roughly sixty minutes, Midsommar inadvertently gives voice to my own sentiment when, toward the end, someone observing a ritual sex act commands, “Finish.” The funniest line in the movie, though, is probably the one about Sweden having “a tick problem”.

2.5 out of 5 stars. Ideological Content Analysis indicates that Midsommar is:

HBD-denialist. Accompanying Christian to Sweden is Josh (William Jackson Harper), a particularly ugly black student whose every moment onscreen is jarring and unnecessary. The quintessential specimen of Africanus cinematicus – the type of black person who only exists in Hollywood movies – Josh shares Christian’s research interest in indigenous European faiths. A candidate for the least convincing black character ever presented in a movie, Josh is given to sophisticated remarks like, “Do you think there is a masochistic part of you that is playing out this particular drama to avoid the work you actually need to be doing?”

Antinatalist. An annoying sex scene is intercut with an inbred, mentally retarded child’s hideous face.

Anti-white. Boiled down to its essence, Midsommar expresses Jewish anxieties about the rise of the Alt-Right and the end of the Christian era. The solar worship, ancestor veneration, and white costumes of the cult carry Nazi and racialist connotations, with even the beams in an elaborately decorated bunkhouse mimicking the Algiz, or life rune, used by the National Alliance. Likewise, a torch-bearing ceremony may be intended to evoke the Charlottesville rally with its tiki torch march and chants of “Jews will not replace us!” It is not so much that Ari et al. will lament the passing of Christianity in itself, but that it makes them nervous to see intelligent young white people watching Survive the Jive videos instead of attending a Zionist megachurch. Ari wants impressionable women and Christians to watch his drivel and call it to mind if they learn, for instance, that a friend is studying Asatru. “OMG, runes? You mean, like, that movie Midsommar? Isn’t that like, cannibalism and stuff?” Boringly, Ari resorts to the old canard that intraracial procreation is akin to incest. The Swedish cult’s scriptures, the movie reveals, are dictated by an inbred oracle, which is tantamount to telling Europeans that their ancestral religions are just retarded dribblings. But don’t expect Ari to make a horror movie about blood-ritualizing mongoloid Israeli rabbis anytime soon. That, after all, would be anti-Semitic.

Rainer Chlodwig von K.

Rainer is the author of Drugs, Jungles, and Jingoism.

Gloria poster

Full disclosure. Your humble reviewer, stopping on a whim at his neighborhood Redbox machine to see what was newly available, quickly picked Gloria for no other reason than the disclaimer that it contained graphic nudity. Not realizing that this would be a serious foreign film requiring him to read subtitles, he ate his movie vegetables, as it were, by accident.

Set in Santiago, Chile, Gloria is the story of a lonely divorcee (Paulina Garcia), a professional woman and recent grandmother, who finds herself torn between dignity and sexual fulfillment. Somewhat nerdy but still shapely and graceful in her maturity, Gloria thinks she may have met the answer to her quiet yearnings in paintball park proprietor Rodolfo (Sergio Hernandez), a man who gives increasing evidence of neurosis.

Gloria very much belongs to lead Paulina Garcia, a fascinating actress whose versatile face and nuanced expressions command the viewer’s undivided attention. Even had the script by director Sebastian Lelio and Gonzalo Maza not been so finely worked and surprising, the film would be worth seeing if only for the presence of Paulina Garcia. Eccentric, disturbing, and warmly human, Gloria gets this critic’s high recommendation.

5 stars. Ideological Content Analysis indicates that Gloria is:

10. New Age. Gloria takes a yoga lesson.

9. Marginally pro-miscegenation. Gloria’s daughter Ana (Fabiola Zamora) is involved with a Swede (Eyal Meyer), which is arguably a mild instance of interracial relationship. However, Chileans, particularly those living in Santiago, are of predominantly European descent, and resemble Spaniards in their attractiveness.

8. Anti-Christian. Gloria tries to hide her condescension as her maid (Luz Jimenez) talks about the Genesis flood and tells a story about cats issuing from a lion.

7. Racist! Gloria and Rodolfo, practicing at a firing range, shoot at a target representing a “black figure”.

6. Drug-ambivalent. Marijuana plays a role in Gloria’s new assertiveness. Her tobacco habit takes on varying shades of character depending upon the emotional context – sultry and sophisticated smoking after sex, or an anxious person’s prop in her moments of doubt. One smoker is reminded not to light up in the presence of a pregnant woman. Humiliation, despair, and overindulgence in drink drive Gloria into the arms of a random slob for a degrading one-night stand.

5. Anti-marriage. The protagonist’s ex-husband (Alejandro Goic) is an undependable drunkard. Rodolfo, like Gloria, is relieved to “finally” be divorced. Ana, a happy tramp with a pierced nose, is unashamedly pregnant with her Swedish lover’s bastard.

4. Anti-family/antinatalist. “Don’t be born, man! Don’t be born!” despairs one of Gloria’s neighbors. Rodolfo’s wife and daughters are selfish, needy, ungrateful nuisances. Gloria’s family, too, is broken.

3. Misandrist. A vengeful Gloria appropriates her insensitive lover’s phallus by attacking him with one of his own paintball guns. The men in her life are all immature. “Grow a pair,” she tells Rodolfo.

2. Anti-capitalistic. Old Chilean radicals look to loud young rabble to effect progressive change. Gloria’s idea of excitement would be to skip work and travel to Cuba. The film also presents an unflattering portrait of an entrepreneur in Rodolfo. (see also no. 1).

1. Anti-Semitic! “What Chile used to be now seems like a ghost, as if that Chile were dead, and what was built afterwards is a kind of replica of something that’s being devised in some other part of the world, where the driving force is greed.” “There aren’t any leaders anymore [. . .] if it’s about politicians who are up there, and they’re the ones governing, the ones that were chosen.”

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