*The Strange Thing About the Johnsons* is a deeply unsettling short film written and directed by Ari Aster, who later gained fame for his feature-length horror films like *Hereditary* (2018) and *Midsommar* (2019). Released in 2011, this 30-minute short explores taboo subject matter through a lens of psychological horror and dark familial dysfunction.
The film follows the Johnsons, a seemingly normal, upper-middle-class family living in suburban America. Sidney Johnson, the patriarch, is a respected poet and loving father, while his wife, Cynthia, appears to be a devoted spouse. Their son, Isaiah, is a college student who, on the surface, seems well-adjusted. However, beneath this façade lies a horrifying secret: Isaiah has been sexually abusing his father for years, manipulating and coercing him into compliance.
The narrative unfolds with disturbing revelations, showing Sidney trapped in a cycle of shame and helplessness. Despite being the victim, he struggles to confront the abuse due to societal stigma, fear of exposure, and Isaiah’s emotional blackmail. The power dynamics are inverted—instead of the parent abusing the child, the film subverts expectations by presenting the child as the predator. This reversal amplifies the horror, making the audience question traditional family structures and the nature of abuse.
Aster employs a slow-burn approach, gradually escalating the tension until the climax, where Sidney finally attempts to break free. However, the film’s conclusion is bleak, emphasizing the inescapable nature of trauma and the destructive hold Isaiah has over his father.
Ari Aster’s *The Strange Thing About the Johnsons* is a masterclass in psychological horror, using discomfort rather than gore to unsettle viewers. The film’s power lies in its taboo subject matter, forcing audiences to confront an abuse narrative rarely depicted in media. By reversing the typical victim-perpetrator dynamic, Aster challenges societal perceptions of abuse, illustrating how power and manipulation can exist in unexpected relationships.
The performances are crucial to the film’s impact. Sidney’s silent suffering evokes sympathy, while Isaiah’s calm yet sinister demeanor creates an eerie contrast to his monstrous actions. The domestic setting—a pristine home filled with books and art—heightens the horror, as the abuse festers in an environment associated with safety and respectability.
Aster’s direction is deliberate, using tight framing and lingering shots to emphasize the characters’ emotional imprisonment. The lack of overt violence makes the psychological torment even more disturbing, as the horror stems from the characters’ inability to escape their roles. The film also critiques societal complicity; Sidney’s silence reflects real-world barriers victims face when confronting abuse, especially when it defies conventional narratives.
Thematically, the film explores cycles of abuse, guilt, and the corruption of familial love. While not explicitly supernatural, it shares Aster’s later preoccupation with familial horror, where home becomes a site of unspeakable trauma. The ending offers no catharsis, reinforcing the idea that some wounds never heal.
*The Strange Thing About the Johnsons* remains one of Aster’s most controversial works, leaving viewers deeply unsettled long after it ends. Its unflinching portrayal of inverted abuse ensures its place as one of the most disturbing short films ever made.
