DIRECTED BY: Lars von Trier
PLOT: A young woman grapples with serious depression on her wedding day, causing rifts i nher already-tempestuous family relationships. Meanwhile, a planet known as Melancholia is making its way towards Earth.
WHY IT WON’T MAKE THE LIST: Von Trier’s rumination on the end of the world is for the most part surprisingly understated, incorporating surrealistic imagery here and there but primarily relegating itself to a realistic study of a family in crisis with a science-fiction background.
COMMENTS: Opening with breathtaking slow-motion shots of a dreamlike apocalypse set to a bombastic Wagner score, Melancholia begins with the promise of something literally earth-shattering. Its ambition and scope seem far-reaching and all-encompassing, much like Malick’s confused 2011 offering The Tree of Life. Shifting to close-quarters shaky cam as the focus moves to new bride Justine’s wedding party, Melancholia becomes an investigation of her debilitating depression and how most of her wealthy, bitter family is unsympathetic. The second half keeps the setting of an isolated mansion inn, but puts the spotlight on sister Claire, whose extreme anxiety is increased by the foreboding presence of the incoming planet.
As the promise of a visually and thematically grandiose event lingers over the film’s proceedings, von Trier endeavors to first fully establish his characters and their relationships. We spend a lot of time with these people, seeing their connections and lack thereof, slowly understanding their underlying flaws and neuroses. The looming threat of complete world destruction is barely acknowledged during the first half as the script is absorbed in Justine’s efforts to hide her disease and Claire’s concern for keeping up appearances. It’s meandering and slow-moving, but the strong lead performances from Dunst and Gainsbourg—along with a charismatic supporting turn from Sutherland—are engaging enough to keep things interesting until the apocalypse strikes.
Because we spend so much time with these characters beforehand, their plight at the end is felt all the more acutely. Seeing how these women lived—raised in wealth but suffering internally (all very Salinger-esque)—is such an intimate experience that it’s hard to not feel involved personally. The planet Melancholia itself is truly an awesome sight, eerie and intimidating, seeming to affect the actors internally and causing a few mouths to open in the audience. Of course, the ear-shattering Wagner orchestration helps build the intensity.
Weird movie fans will surely appreciate the gorgeous surrealistic imagery peppered throughout, but at its heart Melancholia is a serious examination of mental illness and family ties in the shadow of a cataclysmic event.
G. Smalley adds: Melancholia is an intensely metaphorical movie, but it is essentially a more conventional, dramatic reworking of the theme of clinical depression vonTrier explored in the weirder, more outrageous Antichrist. The two movies contain common themes and a similar look (I was surprised to discover that they had different cinematographers), but they are so different in their approach that I’m not sure liking one will predict how you’ll react to the other. In fact, I suspect that many of the people now singing the praises of Melancholia were the ones complaining the loudest at Antichrist and von Trier’s descent into “torture porn.” Melancholia is strong throughout, but I found the opening the most astounding part. It’s a six-minute super slow motion surrealistic montage that manages to enrapture while featuring characters and events about whom we know nothing yet. It opens with a shot of a devastated-looking Kirsten Dunst with dead birds falling in the background, and includes what may be my favorite image of the year: Dunst trudging through a forest glade in her white wedding gown, dragging behind her a train of huge vines tied to her ankles and waist. The slow motion photography is technically amazing; sometimes you believe you’re looking at a still photograph until you see a foot lift, and at other times it seems figures in the foreground and background are moving at different rates. It’s thrilling (to me, at least) to see a director who once advocated stripping film down to its basics (the short-lived “Dogme 95” movement) now embracing the full operatic range of cinematic tools.
WHAT THE CRITICS SAY:
“In many ways this bizarre, nihilistic meditation is a dreary, redundant, pretentious bore… On the other hand, the magnificent, ethereal visuals/special effects are haunting, particularly the opening collage which compresses the entire story.”– Susan Granger, SSG Syndicate