If you have ever seen an Ari Aster film, you have likely experienced being deeply uncomfortable. Through a combination of graphic imagery, prolonged scenes of suspense, and unexplained phenomena, Aster’s films put the term “horror” to another level. Instead of typical jump scares every ten minutes, Aster’s movies leave you with disturbing character developments and chaotic resolutions. Such as his 2018 film, Hereditary, ending with a teenage boy becoming a King of Hell.
Such twisted story lines are only appropriately joined with twisted musical accompaniment. Most pieces throughout Aster’s films remain instrumental, with heavy use on woodwinds and brass. However, the pieces are not necessarily sinister. Sure, some pieces made for Aster's movies are made to sound typically scary; with use of minor chords and melodies in lower pitches. But toward the end of his movies, there is a shift from terror to triumph. This shift can be seen in two of his most successful films: Hereditary and Midsommar. Towards the end of both films, something unworldly happens to the protagonists. In Hereditary, it was Peter becoming Paimon after his entire family was murdered. In Midsommar, it was Dani becoming the Harga's “May Queen” after witnessing her ex-boyfriend being burned alive. Aster creates a glorious feeling for the ends of his movies, almost to show the viewer that it is a happy ending.
But Ari Aster movies don't leave you happy. Adding such joyous tones actually creates a greater sense of horror by creating a contrast between what the watcher is seeing versus what they are hearing. In Midsommar, you see a man burning alive, but hear sweet string harmonies in the background. This can create very strong emotional responses from the viewer, confusing them on what to feel and why. For this reason, Ari Aster’s movies have become some of my favorite horror films. They never leave me bored, calm, or happy!
Play "Fire Temple" (Bobbi Krlic)
Cover image from Screenrant.
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