Few names in the cinematic world stir up as much fear and controversy as that of Lars von Trier. Personally I am a huge fan and have never bought into the claims of racism, misogyny or any of the other terms people love to throw at him. There are few directors with as recognizable a style as von Trier, nor few with a powerful enough drive and vision to create what he has, from the minimalist Dogville and Manderlay, to the more recent (and most controversial) Anti-Christ, few can deny the power of von Trier's vision. And so he returns this year with Melancholia, a human drama disguised as a disaster movie.
The film opens with a stunning series of slow motion shots that sum up the themes and motives of the movie to come, all set to a beautiful excerpt from Wagner's Tristan and Isolde (which also happens to be the only piece of music used in the film, repeated at important intervals, a surprisingly stark and effective choice). Afterwards, it continues in two parts, named after the primary protagonists, Justine and Claire.
Justine (Kirsten Dunst) is getting married and intends to celebrate the wedding at her sister Claire's (Charlotte Gainsbourg) estate. The reception is paid for by John (Kiefer Sutherland), Claire's overly-rich amateur-astrologist husband. Throughout the night, Justine sinks further and further into depression, tearing not only her family, but her work and even her marriage apart. After sleeping with a stranger on her wedding night, her husband leaves the wedding in disgrace. Upon riding in the morning, the sisters notice a single start has vanished from the night sky.
The second, Claire, takes place an indeterminate time later. Justine has sunk into an almost catatonic depression and is unable to function, so she returns to live at her sister's estate. Meanwhile, a mysterious planet has appeared from behind the sun and is on course towards Earth. This part juxtaposes Claire's descent into fear and insanity with Justine's calm acceptance of the end, creating an interesting argument over who really is sane.
It's hard to talk about what Melancholia, the film, and Melancholia, the planet, represent without ruining things for the viewer. This is a very personal movie and will mean something different to every person who watches it. Some will hate it, there is no doubt. It's slow-paced, surrealistic nature is bound to lose the more casual viewers, though it is far less disturbing or even controversial than any of the director's previous works. There's almost no sex or nudity; hell, there's barely even any language. At its heart though, Melancholia owes a lot to its stars, especially Kirsten, showing again her incredible acting chops that so many people tend to forget about, especially those that first saw her in Spiderman and were remiss enough no to hunt down her earlier works, such as the incredible Elizabethtown. The script, will well-written, could easily have been lifeless, overly-intellectual and self-indulgent almost to the point of masturbation were it not for the subtleties of the performers. Kirsten's depression is a quite one, shown by long periods of silence and slow movements, not by dramatic outbursts or endless drama. Claire's anxiety burns slow, too, so that when it finally boils over it's all the more powerful. Keifer is given the somewhat unlikable role of the voice of science/arrogant rich bastard, but he again proves that he's not just Jack Bauer. Alexander Skarsgaard, Stellan Skarsgaard and John Hurt also shine in the prospective roles, though both John (as Justine and Claire's father) and Alexander (as Justine's husband) are rather underused.
To truly appreciate Melancholia, you have to forget about the planet, or at least think of it as a metaphor. A disaster movie, this is not. The ending of the world is simply the catalyst to create drama in a surreal and extreme situation, not unlike Requiem for a Dream's overly extreme portrayal of drug use. It recalls a similarity with this year's Tree of Life, which explores some similar themes and is also a fantastic movie. It is true that not everyone will enjoy this, but I implore you to ignore the Lars von Trier stigma and go in with an open heart and mind. There is much to discover at the end of all things.
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