Strange Thing About The Johnsons Movie

Ari Aster, a name now synonymous with a distinct brand of psychological horror thanks to features like Hereditary and Midsommar, first truly disturbed audiences with his early short film, 2011’s The Strange Thing About the Johnsons. This is not your typical jump-scare horror fare; instead, it’s a masterclass in building sustained dread, exploring the darkest corners of domesticity and taboo with a discomforting intimacy. Understanding this short is crucial for appreciating the thematic threads that run through Aster’s later, more widely known works.

Genesis of the Unsettling:

The Strange Thing About the Johnsons originated as Aster’s thesis film at the AFI Conservatory. Even in this early piece, his distinctive voice is palpable. He crafts a narrative that immediately throws the viewer off balance. The initial premise itself is designed to provoke unease: a seemingly idyllic suburban family harbors a deeply disturbing secret. It’s a testament to Aster’s nascent talent that he manages to create such a potent and memorable piece within the confines of a short film.

Unpacking the Narrative: Beneath the Veneer of Suburbia:

The film introduces us to the Johnsons – a picture of middle-class normalcy. Joan, the mother, is supportive; Sidney, the father, is a successful accountant, and their son, Ron, is outwardly loving and successful. However, this facade shatters quickly. The “strange thing” is revealed early on: Ron (Brandon Thane Wilson) is sexually obsessed with his father, Sidney (Billy Mayo). This isn’t a fleeting infatuation; it’s a deeply ingrained, manipulative, and abusive pattern that has persisted for years, with Ron as the aggressor and Sidney the unwilling victim. The film subtly reveals these layers, creating a growing sense of unease.

The narrative unfolds through carefully constructed scenes that oscillate between mundane family life and unsettling, sexually charged confrontations. Aster masterfully builds tension, using dialogue and performance to suggest the deep-seated dysfunction simmering beneath the surface. Joan (Angela Bullock), seemingly oblivious or in denial, represents another layer of complexity in this warped family dynamic. Her cheerful demeanor clashes starkly with the horror unfolding in her own home, highlighting the film’s exploration of denial and the disturbing ability to normalize even the most grotesque situations.

Character Deconstruction: Victim and Perpetrator Boundaries Blurred:

The characters in The Strange Thing About the Johnsons are not easily categorized as simply victims or villains. Sidney is clearly a victim of abuse, yet his passivity and inability to break free from Ron’s control raises uncomfortable questions about complicity and learned helplessness. Ron, the perpetrator, is portrayed not as a monster in the traditional sense, but as a man consumed by a destructive desire. This nuanced portrayal, avoiding simplistic good versus evil, is a hallmark of Aster’s work. He delves into the uncomfortable gray areas of human behavior, forcing the audience to confront the complexities of abuse and dysfunctional relationships.

Joan’s character, while seemingly secondary, is crucial. Her willful ignorance might be seen as a survival mechanism in the face of unbearable truth, or perhaps it signifies a deeper societal blindness to uncomfortable realities within families. Her obliviousness is as disturbing as Ron’s actions, contributing to the overall sense of unease and the film’s exploration of collective denial.

Cinematic Craft: Visualizing Discomfort:

The film’s cinematography, though simple, effectively enhances the pervasive sense of unease. The use of domestic settings – the Johnson’s home – as the primary backdrop for the horror is deliberate and impactful. Ordinary spaces become tainted by the disturbing events that unfold within them. The film’s visual style serves to amplify the unsettling nature of the narrative. The performances are restrained yet powerful. Billy Mayo effectively conveys Sidney’s internal torment and quiet desperation, while Brandon Thane Wilson delivers a chillingly unsettling portrayal of Ron’s manipulative and predatory nature. Angela Bullock’s performance as Joan, with her forced cheerfulness, adds another layer of unsettling irony.

Critical Perspectives and Audience Reception:

The Strange Thing About the Johnsons, while a short film, has garnered significant attention and discussion, particularly within the context of Ari Aster’s growing fame. On IMDb, user reviews are varied, reflecting the film’s divisive nature. Some viewers praise its disturbing brilliance and originality, recognizing it as a powerful and thought-provoking piece. Others are repulsed by its subject matter, finding it gratuitously shocking and distasteful. The film certainly leaves a strong impression, as reflected in audience reactions on platforms like Letterboxd.

Film critics and analysts often highlight the short film as a crucial stepping stone in Aster’s career. Short of the Week praised its ability to “worm its way under your skin,” acknowledging its disturbing brilliance. Film School Rejects emphasizes the short’s significance in understanding Aster’s thematic preoccupations, noting how it foreshadows his later explorations of family trauma and horror. Indeed, examining Aster’s broader filmography reveals consistent themes and stylistic choices emerging from this early work. Indie Shorts Mag provides an insightful analysis, framing the film as a depiction of sexual abuse “seen for the horror it is,” commending its unflinching portrayal of a taboo subject. Aster’s unique approach to horror is further explored in publications like The Guardian.

While box office numbers are irrelevant for a short film of this nature, its reach and impact are undeniable. It has circulated widely online, becoming a talking point among cinephiles and solidifying Aster’s reputation as a filmmaker unafraid to tackle the most unsettling aspects of the human condition. Its presence on platforms like Wikipedia further attests to its significance. On Letterboxd, reviews are also mixed but largely positive, with many viewers acknowledging its disturbing power and impact, even if they find it deeply uncomfortable to watch.

My Final Verdict:

The Strange Thing About the Johnsons is not a film for the faint of heart, nor is it intended to be easily digestible entertainment. It is, however, a powerfully unsettling and undeniably effective piece of filmmaking. Ari Aster, even in this early work, demonstrates a remarkable ability to create sustained dread and explore deeply uncomfortable themes with unflinching honesty.

While some may find its subject matter gratuitous or simply too disturbing, I argue that The Strange Thing About the Johnsons serves as a potent exploration of taboo, denial, and the hidden horrors that can fester within the seemingly safe confines of family life. It is a confrontational work that challenges viewers to confront uncomfortable truths about human nature and the potential for darkness to exist even in the most ordinary settings. The ongoing discussions online further underscore its lasting impact.

This short film is not just a student project; it’s a crucial piece in understanding the trajectory of a filmmaker who has since become a leading voice in contemporary horror. For those seeking genuine unease and a film that lingers uncomfortably in the mind long after the credits roll, The Strange Thing About the Johnsons is a must-see – albeit with a strong trigger warning. It is a testament to the power of short-form storytelling to deliver a lasting and deeply disturbing impact.

While ratings are not centrally compiled for short films in the same way as features, the consistent discussions and analyses, the enduring online presence, and the film’s recurring mention in discussions of Aster’s work, all point to its significant impact within film circles and among audiences seeking challenging and unconventional cinema. It is a disturbing yet undeniably significant early work from a director who continues to push the boundaries of the horror genre. User reviews on platforms like IMDb further attest to its polarizing yet impactful nature.

Sincerely,

Ferdosa Abdi