Rev., Oct 15, 2019.
Continuing with Midsommar (2019), on the final day of the event, I think, things are now in full festival action. The group is worried because some of them have gone missing, then, they are even more directly drawn into the ritualized processing of the spell, without even knowing it, or it even seeming to happen on camera. Thus one can only assume that the love spell calls for the to-be-jilted lover to cook the pie in which the red head has put her charm, her pubic hair, I also strongly suspect these are meat pies, so a Sweeney Todd vibe, with meat of the missing others in them
they then have a very strained lunch, but Christian finds a hair in his pie, they are all grossed out, worse that Mark thinks it is a pube, which is really gross.
this kind of grossness is “normal.” Indeed, I made light of it on FB, as this fact exploded when I saw it, thinking of other movies, about the coincidence of upon the opening of MOMA the one thing that NF wanted to write about was a hair in Starry Night, and I commented.
then, in Surpisia (2018), there is a cult portrait in the kunstkammer that Sarah finds in which it seems that the cult support of Markos and Blanc
is reinforced by the inosculation of hairs from every memory of the coven in it, to, by that magic, as if magically deepen the cult power of this aegis (aegis being a goat skin, so that it is here made of hair from all the women of the coven relates).
I then could not resist thinking that Starry Night was given a strange partner in Rousseau’s lion, and suggested that by the virality of this urban legend sprung up in the instance of a moment’s thought at a press preview, it might develop in time that somehow the hair is of a lion, or something like that.
then, even more exploding in my head, the pubic hair in your pie moment made me think of a far more famous pubic hair in a line in The Exorcist (1973), which launched a new phase of my meta conspiracy theory about that movie, also in Facebook.
Like most Americans who deal with food urban legends, chefs are getting hairs in food all the time, so
but the inference from the response in the movie is that all of them simply thought of this incidentally as just a symptom of bad unhygenic country cooking, and not an intentional insertion for the sake of local voodoo
the alien pubic hair in the drink of dennings (“I think there is an alien pubic hair in my gin, I can’t imagine how it got there”), in The Exorcist (1973), remains equally problematic. The Lady in Black is a character I have studied, of late, weaving a conspiracy theory about her, by her Fr dyer on the piano–a real priest in real life later accused of abuse of high school boys–might’ve been implicated in some sort of attack on Regan.
she also sits to listen to Chris ask about the church over the way
I have also entertained the idea, since he died after he found a way to get with Regan alone in that room, then obviously offended her, to be thrown by satan out the window, that dennings himself earlier during the party went up to the room to abuse her, and by way of oral sex got a pubic hair on his lip that then made it way into his gin (this being written later, dec 5, I now also think some of the less narrative elements of The Irishman (2019) rely on an inference of sexual abuse of the girls in the movie, in some way; the movie as a whole not unlike, in fact, Midsommar, in mapping out a crime covering its tracks at every point, to explain its sinister nature more thoroughly).
dennings’ predilection for sexual infraction that might even be reported these days is, in fact, shown, when, drunkenly, he, leaving, takes advantage of the moment to grab way too much of Chris than she clearly wants, this perhaps a backwards inference of his guilt with regard to her daughter.
here, though, it is confirmed, more so, later with the mistress in charge, when she says “sounds about right”, to his complaint that he thinks he ate one of the girl’s pubic hairs, being told that the red haired one is a perfect match for him to mate with
dani seems to recognize what it means, however, or that it is part of……something that is going on
so that spell is going. But, now, time for the climax, so we ratchet things up. Aster gets entoptic, making a screenwipe of the toxic hallucinogen tea, to prep dani to win the May dance
in the lodge Christian is served glass onion level symbolism, the bear burned by fire, whatever that means (but it, of course, signals that the candidates to be that bear in the rite are interviewed here, there is also a nude girl lower left there)
there is one undercurent of what appears to be a completely cryptic level of glass onion symbolism in the movie, there seems to be graphs for magic flowers on the walls of the room Christian is given his talking to
they are a regalia bouquet, if you will, of the flowers, displays of magic
then, when Christian comes out, to look across the long lot to where the far off May Queen circle is, there is a small tree
the trees were there earlier, but given no mention
after taking the tea, dani feels like a plant too, again seeing her feet turn into vegetation
these planted trees are instrumentalized later, as if part of the day
later still, after Christian has fullfilled his procreative duty, he is cast out, as it were, as the cult has no use for fathers, it as a group to raise families, so he runs about now abjectly naked, and begins to see that parts of his friends have ended up planted, as if in an urge by magic to bring nature to a more fertile level, Josh’s leg in the garden
then he runs into a shed, and sees Simon all strung up like a garnished gourmet item, flowers all over and in him
then his insides are as if lifted up out of him to make him a magic man-plant, a kind of mandrake. This could also be a reference to the “blood eagle” manner of execution said to have been practised by the vikings, as raised in the tv series five years ago. Is it true?
this from Smithsonian magazine
this could be the blood eagle, or, at least, related
Like Attestupa, it appears that the blood eagle is also an urban legend horror story invented by sensationalizing historians of a later time, and not real. But, of course, this is horror’s wheelhouse, may it ever feel free to spin the lore another time. If, however, it is meant to be a blood eagle, then it signifies that his pleasure was in the killing, and the power in it too; and that creating a kind of pollard of vegetation-animal is not quite the purpose. A moment, for this, when we see the rest. But, the important point is, we are first seeing them, now, here, at the point of fertilization, before we get to the final sacrifice; between the procreation and death, as if to create an in-between place (all of this related to a chain of being of terms I have developed to describe recent developments in Euro body sculpture, with, even today, with a Norwegian artist).
Since I first had an inkling of what the forces of insomnia leading to nightmare were by finding it in the symbolism of Van Gogh’s sunflowers in movies, signifying being caught up in the bright uncaring world–there is also a sunflower painting on the landing in the house where The Exorcist (1973) takes place–the fact that Simon seems to have sunflowers in his eyes signifies dead eyes as well.
and his appearance can be explained as meat was part of the simple peasant way to bless the land
this would suggest a simple vegetative culture chain of being view of nature in which it was thought that in order to ensure that the lower order of vegetation be fruitful it had to be fused with charms from the higher order of meat, and that if that fusion creates a hybrid higher up on the scale, a mandrake conjure figure, then that would make sense as basic peasant magic…..which brings me back to the beginning.
I started out wondering why they pollarded figures back to an object state, in preparation for sacrifice. In these two, they effectively cut back on their humanity, to make of them herms, apotropaic boundary marking figures.
My basic outline for the shelf-life of a conjure figure is this
the Presence (or Throbber) is the first form the conjure figure takes at one’s far periphery, in the entoptic ambient zone; then, second, half way coming in, its coming in makes you see it as an animated presence, a herm-conjure figure, or Figment, with somewhat human shape, but still inanimate, crossing the boundary of one’s alarm zone; when, then, the conjure figure passes in from the ambient zone back to the hypnagogy zone, to become, at that crossing, an immediate threat to you, it becomes the Herm-Mannequin, or Famulus, which is, a lifelike figure of you or another, in a half human half object way, that symbolizes the surfacing or the closing into the dream; then it sinks, and as a Symbolic Herm , or Conjure Figure, it is recognized in horror as human, which causes it to manifest as algamata sacrifice, in the whoosh, with the leap, imagined as pleasing to the god. The question of why the god is here like this is here. In my view, hypnagogically, the focus on the sun and the brightness and midnight sunniness of it all means that their god is the High Sky of eternal blinding brightness. They, in calculation of rite, secretly practice murder to recruit the sacrificant anathemata, but the conjure figure only gets there because way out at the edge of the ambient, looking back from that point, its gaze back up to the High Sky god, is their measure of how far the god is from them, and what is required to symbolize and thereby overcome that distance. Who this god is, is an issue, but, for me, the Greek version is Apollo Far-Shooter, as he it is who navigates the movement of a conjure figure from far out, for it to then in terror come zooming in on you, thus Apollo Hecaergus, with Apollo Ismenus presiding over Apollo Ambias, the one who crosses over on in. As above, I argue that this pollarding is attributable to communicating across a perceived distance between them and the gods. But, now, some context.
The whole hypnagogic of the movie is about opening them up to the wide space of the high sky, making them submit to its glare, Apollo Agletus (or Norse equivalent, Sunna?), of the sun, then a series of ambient-sent diversions to carry it off without any confrontational complaint.
But, the amazing thing to me here is that in Hereditary (2018), Aster’s first movie, without premeditation (meaning, I did not look back until now), I ALSO found a tripartite eldritch nightmare formation (first nightmare, leap out to more hypnagogy; second nightmare, sleep walking, bounce out to waking; third nightmare, peering down into hidden truth), but, again, in a slightly externalized form in the third approach to truth-seeing. Then, it keeps going. And though I find the bounce of this movie to be somewhat harder than the latter, in the sense that she bounced out to Ambient space, beyond “the trap” in which she gets caught up in her own house in Hereditary, the movement is more or less the same, and the Aster signature seems to be to continue on exploring the exploitation space of the horror after most horror movies would’ve stopped, at the end of the nightmare. I wrote:
But, here, where is she? dreamwise, she has splatted, that is, been shocked out of herself, by what is going on, we THINK she is just now continuing on her journey to discover and defeat the evil; but, no, she has splatted off to the side, that’s what happens when a search for Ophthchtony (seeing through the darkness), dream truth, fails, and she splats off to be situated in an adjunct space which in this movie they keep within the confines of the hypnagogic. In my system thus far if you splat right into a black out you are in Chthon (darkness), if right into a white-out to Ophthon (seeing), but since she splats to the world of both, a conjuring world where SHE is now as if going through the motions of moving the conjuring forward, without knowing it, I place her as going into a kind of trap, which I will just call, combining binary prefixes, Chthonophthon (darkness with apparent seeing), a splat lateral space, WITHIN the confines of the hypnagogic, but, locked in deception, controlled by a demon, she thinks she is moving forward and out to the saving, but a lot like Captain Howey in a movie I have compared this movie to, the Wicker Man (1973), she is unwittingly moving up and into the cult
Chthonophthon is a silo of deception, moving upward back through the adjunct spaces, through the nexus space, to find, at the verge of reentry into a new life in vigilogogy, the final secret. Since it is bracketed, and not in parenthesis, it seems best that I call this particular version of it, Pseudochthonphthon, that is, a false place, controlled and exploited by ambient or sentient demons. It is, in this, also characterized by the extra stress of, say, gravity, in that, oddly, the movie starts having her and everyone else move upward. This zone then is more packed in, blinded, less wiggly-roomish. In fact, it is pulled upon by an Ambient and perhaps even Sentient force, which flattens out its levels so that plus-minus, good-bad fade into one. The Ambient pressure is now exerted because the observation of the ritual has begun, the cult has invaded and taken over the house, everyone in the house from this point on is a pawn, being “turned’, as it were, as a spy is, in the house. This is represented by the emergence of the old nude people, closing in on the space, and, in a shot later, see below, even surrounding the house and the walkway up to it, signifying that it is in their control. Furthermore, there was the voice used at school, the cult members crying from across the street, “I expel thee,” and the odd fact that Charlie and then Peter both hear this tongue-clicking noise behind their ears (Charlie makes the noise, Peters hears it from Charlie’s spirit, I think). This places Paimon somewhere out in the outer darkness, beyond the movie (since most of the movie is situated inside the hypnagogic zone). It is the “pull” on the whole intermediate, adjunct, rare, upward trajectory space of Pseudochthonophthon (fake darkness, trying to see in) that makes it, at least in my thinking, a new space, and a space that very, very few horror movies have ever gone (again, I think of The Wicker Man). It is this pull that results in the delirious almost unpredictable zero to sixty spins in Annie’s character, as, shockingly, after she played the part of the mother putting up the good fight to ward off evil, she is taken in too, and completely reverses herself by actually being the agent of the cult in destroying what is left of her family and delivering Peter to the cult (she ends up as well with her head cut off, to signify that she had lost her selfhood).
And the triple loop symbol in Hereditary (2018) seems to map out a triple loop that nonetheless stayed put within hypnagogy in the house, and did not go ambient. Whereas here, I am saying that, while the same formation is present, in Midsommar it bounced out into the pure Ophthon space of the white out. This is my map of the world where Collette went in Hereditary, stylized to accord with the attic symbol
but, in Midsommar, already out in ambient space, it is a matter of the demonic aspect, that is, the exploitation by external controllers, to involve more intense, more diversional, more complete and final rites, to fulfill their ritual with these two sacrificial lambs. What spaces are these?
First, I have to address the hypnagogy of the double rite itself, the dance in which dani wins May Queen, and the ceremony of fertilization where Christian is the seed donor for the cult to get a new baby this year. The dance, first, is set as if in a nexus cross-communicating with the fertility rite. In the dance the woman and Christian will be distracted, whilst the red head goes off to strip to get ready for Christian to fuck her.
the fact that Christian is as if surrounded, trapped, by their social pressure exerting him to make the correct move, is part of it.
Pugh, throughout the movie giving as good a face-making-based acting performance as Cushing might of, looks at him, kind of lost, bereft, she seems to realize something has begun to happen which has pulled them apart, for good.
the really interesting thing is how Aster films her in the dance, he uses a kind of dissolve in which previous frames are locked, for the next frame to spin out from it, etc, so that there is a sense that while the dance is going at its pace, she is somehow, mentally, lagging behind; or, in fact, losing herself, in a blur, in a whoosh.
this also posits her mind being split off from her body, her body is going through the motions, but her mind projects a “what am I doing?” worry
the fact that both overlays get very pastel also interjects an element of entopty into it, as if to say all of this is happening inside herself, but inside a self knowing something is happening
it is quite good
in the process she loses herself to just become a machine, in the cult, following along, moving on, automatically
then, something weird happens, another light seems to rise up into the shot (perhaps to signify a great deal of time passing), she now looks entirely out of herself exhausted.
at this point, she gets entirely lost in the blur of the dance itself, she is reduced as if to a conjure figure to herself, her vacated, emptied out psyche, barely able to see where she is.
then into full white out, or glow out, the sun.
which becomes the blindspot, in the High Sky
then, whatever that does to her, she then comes out the other side, remade, something else, as if here in a frame of lavender.
this, in effect, on the other side of the spell, prematurely crowns her May Queen, the winner, which is highly improbable, that a newcomer come in to then win it, so it is fix, part of the ulterior motive plot. Where do I place this? Previously, I argued that, with the Attestupa, even though the “Utrillo Town” set up was already in place, the movie then transferred over in whole an echo of the central core for it to then in the Ambient zone mineralize into a cliff face from which a nightmare could be enacted as an external ritual event, then recreating in it a nightmare fall to splat, and then the aftermath (Note, dec 20, 2019: my explanation here shockingly similar to Girard’s explanation in The Scapegoat (1983) of why scripture put a magic cliff in Gerasa where Jesus encounters the demon, Legion). This was allowable because it was part of a larger three-part nightmare sequence too. Now, there is another sequence, even nearer the climax, and she is lost in it in a way not seen before.
Though I have not previously done so, I have often written about how the Ambient spin can accelerate, whence it passes over into the Sentient dark zone beyond, so that it becomes a quicker spinning that can psallict one, that is, by psalliction, tear one apart. This tearing apart can be literal, or mental. If mental, then that results in mental illness, which I define as lying out in precincts of brain action where the mind is pulled apart. In that pulling apart then, there is ego death, and once a thing is torn apart, in sentient space, it becomes a psallictioid, a being which hath been torn to pieces by the universe. Though I want to keep it that the splat at the bottom of a nightmare whoosh is the worst psyche-related thing that can happen to someone, obviously, if one can leap or bounce out so easily, it is not. By far, far worse is the spin that spins out of control, after the nightmare, after the bounce out, after the ambient-spin, after all that, and, in far sentient space, tears you apart. I believe the dance more or less tore dani apart, when she won May Queen was when she lost herself. Aster has used the classic dissolve in an intense way to convey the idea that beyond the nightmare, there is what the universe has waiting for you.
now, totally stunned, after having 48 hours before been a total stranger, she is now the center of attention of the whole cult, and she is so torn out of herself she cannot even resist, or suspect the calculation in all this fixing. There is, however, one moment where she seems to recognize the outrageous impossible hypnagogy of it all. Out of the crowd of congratulators she sees her mother
who wafts right through (just like Pelle’s twin sister earlier)
she just is like, “Mom? Mom?”
This is her “truth shot,” but got to by a very circuitous route. The way in which living and dead mix, now, in this zone, is creepy. It also makes me think that this spin spun far or deep enough to spin down into Geithum, or the land of the dead, and, below the sentient, that would be, I think, what I have lately called Galooth.
she is now treated as if a mannequin, put up on a platform, that is carried, like an ancient queen, but, also, going directly to the table, like a roast pig ready for consumption at the banquet in celebration.
the disturbing thing about the banquet is that it seems to be serving up some roast from the blood eagling of the others, it appears there is a suggestion that at this point, in the land of the dead, it is cannibalism that keeps things together
she is aligned
there is no attempt to describe what’s for dinner, but it sure looks like some sort of meatloaf in a mummy form, with the feet up facing up, and then notice that the crown of the other one covers over her crotch in the view (which reminds me that Patricia in Suspiria (2018) was afraid that the witches were “trying to eat my cunt”).
This aerial shot confirms my suspicion, it is a formed “pie” not unlike in the shop in The Wicker Man (1973)
it is almost as if she is being eaten in
then there is a part of it, or whatever, laid out, all along the table, this remains something of a mystery; but a Eucharistic no doubt, eating of her, then eating of him. This view is aerial as it shows that under the radar of her coronation there is the reverse trajectory in the nexus wherein Christian is coming in to take his one empty seat at the table, and it is halfway down next to the centerpiece.
as before, she is startled that her throne is a living thing, it moves to her touch, she is still entirely stoned
then Christian takes his place
but when the redhead leaves
she calls him in, with the aegis of the head priestess on her head. Now begins the more solemn part of the ceremony. To be continued