Those who couldn't hold the 2018 heritage – not because they thought it was too scary or because they didn't have enough – would be even more concerned about the director's next movie, Midsummer, in the Hungarian night. The horror film, which plays almost full light, mixing Scandinavian traditions and pagan customs, is not, in the classic sense of the word, scary, but rather terrifying, the kind of two-and-a-half-hour experience that we constantly Feel threatened. Not only for the horror elements, but also for stomach cramps that resemble dark comedies.
The White Nights' protagonist is a twenty-year-old woman, Danny (Florence Pooh) who would like to break with her little uncomfortable boyfriend, Christian (Jack Raynor), when he was delayed by a terrible family tragedy. Although he was not originally invited to Christianity and his friends take the mourning with them to Sweden: The whole of Brans was officially invited to a festival where the Haarga community holds its usual rituals. It starts with a terrible bombing, and from there it gets more and more strange, terrible and awful.
The main place of the film, the lawn corresponding to Hälsingland, and the houses, huts and temples were all built in Hungary, or more precisely in Budakeszy, although the story took place in Sweden. White Nights was born before the Heritage, where a lot of cinema Goer around the world reads a script at a Swedish production company and invited Aster to create a horror game in Sweden. The director subsequently expanded the invitation by adding feelings of his own breakup and immersing himself in Scandinavian Mendemian speeches, from the torture methods to the meaning of Runes.
The genre has a tremendous tradition in the story of horror films, the foundations of the so-called "folk horror" being the 1968 witch-finder general, the 1971 "Blood on Satan's claw" and the 1973 comic point man. The latter received a remake in the 2000's starring Nicolas Cage. What they have in general is the appearance of the countryside, the mysterious sects and the people's victims. And White Nights not only deal with Scandinavian traditions, but also follow the rules of the film genre. The blend of the two turned into a disturbing but especially memorable ethnographic horror, to which Hungary, with most of the crew and venue, could lay. We've talked to others about this phone with director Ari Aster.
Are there some specific things that caught me in this world?
When the Swedish company contacted me to create a horror movie for them, I was in a break. Subsequently, I thought to marry a break-up movie with a lilac horror. I used to practice custom in the Scandinavian people, and I didn't even want to feel that it was a lot of material to count a world and a sinful story.
After the movie I read a lot of the details and was surprised that the most horrible things were.
The whole film is a mixture of facts and inventions, and most of the traditions contain them, but I have adjusted their details to the story. But others were amazed at how much I didn't invent.
How did you feel about catching existing traditions and using them to tell your own personal story?
The fact that the Swedes first asked me to work on this topic was a bit of an excuse for expropriating their culture. Although the truth is that I actually did, but I didn't feel like I was using anything. And I can't say that I was blasphemous because the midsummer (With us on holy day – Kd) Have pagan roots. When you tell a story, it's about how you can connect, as you can combine different elements, as you can make a mosaic. That's what I did.
The last two of your films are starving emotionally tormented women. Are you attracted to the characters?
I work from the movie to the movie, and the main characters always adapt to the demands of the story. It was a woman in my last two films. I love women, I love writing them, but I put something in myself in every character, because they can only be genuine if their emotions come from a real place. I put a lot of myself in the lead of the White Nights, and I recognize a lot of things in myself. In the background there was no strategy. In both cases, it was decided very early that women would be the protagonists.
White Nights is full of scenes that I should have laughed at, but they were so grotesque and dark that I didn't dare. How funny was your movie?
I watch this movie as a comedy of black humor. In fact, I saw most of the heritage. It's something in the set of White Nights that is quite funny.
When you know what it's all about, it's funny.
So I absolutely meant it.
How were they done in Hungary?
It was great! We could never have made this movie as we wanted it if we were to go out. Work in Sweden would have been prohibitively expensive, and according to local labor law you could not work more than 8 hours a day. When we decided on Hungary, we were nervous first because none of us worked there and knew that almost all of the crew would be Hungarian. We didn't know what to expect. Our costume designer, Andrea Flesch, is also Hungarian, and I can't imagine anyone else doing a better job. The Wood Lord (Which manages a camera machine loaded on rails – KD) I can't speak a word in English, but neither I nor the camera can't communicate with him, but he was able to perform all the almost impossible movements of the camera. And I must also remind Ivan Poharnok, who made fantastic fantasies. I loved taxidermia, I am a huge fan of the things you did in this movie, and it was great enough to work with. Without the full artist, we could never build and provide the village.
Is it true that you are afraid of ticks?
Very. I was dressed over my neck so I wouldn't be clay.
Something left of that village?
Unfortunately not. This was the same with heritage, we built a whole house and then the demolition at the end. So much Vista is part of filmmaking.
That would be a good sight.
I agree I would go back to see it sometimes.
The White Nights will be shown by Hungarian cinemas from July 18th.
(Cover by Vilhelm Blongren, Florence Pugh and Ari Aster on the trend. Source: ADS Service.)