The Movie Empire

Melancholia (2011)

Written and Directed by Lars Von Trier

Starring Kirsten Dunst as Justine

Charlotte Gainsbourg as Claire

Kiefer Sutherland as John

John Hurt as Dexter

Stellan Skarsgard as Jack

and Alexander Skarsgard as Michel

The opening salvo of Melancholia lets the cat out of the bag but does so in such an aesthetically indulgent but unapologetically confident way, that ultimately Von Trier captures me. Dreamy, nightmarish, unsettling and macabre images populate the screen in extreme slow motion photography against the unbearably powerful and romantic score of Richard Wagner’s “Tristan and Isolde”, resulting in a climax of style that is both very Von Trier but also polished as to be almost a new mutation. It’s truly breath taking.

Melancholia is told in two parts – the first the story of Justine (Dunst) and Michel (Alexander Skarsgard) as we join their lives at their wedding reception. The backdrop involves a previously unknown planet named Melancholia as it hurtles towards Earth on a possible collision course. It becomes clear as the night wears on that Justine is suffering from severe depression. The party is hosted and carefully planned by her sister Claire (Charlotte Gainsbourg) and reluctantly funded by her brother in law John (Sutherland). As the night wears on awkwardly we learn of the extreme family tensions and dysfunction that contribute to Justine’s gradual mental deterioration. Lacking any sense of social decorum, at the toast her mother loudly proclaims she does not believe in marriage, thinks all marriages are a sham, and is disappointed that anyone in her family would be involved in one. Maybe not as classy as we would hope mom would be at our wedding but the speech does get a few polite claps, perhaps from those who know this family all too well.

Part II of Melancholia focuses on Claire. Some time has passed and Justine has become incapable of accomplishing even the most simple of tasks. She finally comes to live with Claire and John (not willingly on John’s part) so Claire can take care of her. When she arrives she cannot even give herself a bath and painfully admits everything tastes like ashes. The hidden planet Melancholia meanwhile is getting closer to its collision course with Earth which provides Claire with no shortage of anxiety of her own despite John’s calm reassurance that scientists have this all mathematically figured out and the paths of the two planets will not meet.

This first half of the film feels especially like old school Von Trier from his Dogma 95 days when he shot with no post production, little rehearsal, and no sound editing. The camera work is visceral and reminiscent of cinema verite utilizing more often than not hand held cameras with close on the spot / in your face movements that provides a stark realistic contrast to the grand stylized opening. The content at the reception actually reminded me of the very first Dogma 95 film The Celebration (which Von Trier did not direct) in terms of uncomfortable self- destruction unfolding unavoidably before our eyes.

Part II is interesting as it moves along as the sister’s seem to trade places emotionally. As Melancholia the planet gets closer Justine’s melancholia makes sense to her and recedes and she becomes more functional and calm and even resolute towards her fate. Dunst plays her as a sort of fatalistic clairvoyant by the end of the film while Gainsbourg becomes the panicked victim in denial. It’s an interesting and earned turn from Part I where the roles were somewhat reversed.

The whole film is well acted. It’s nice to see Kiefer Sutherland doing good work outside of mail it in film gigs and TV and Gainsbourg is very real as always. Kirsten Dunst needs special recognition. I’ve never understood the internet reluctance to embrace her as a beautiful and talented actress. Her filmography is fairly impressive and she’s been part of a number of great films many of which she has been the reason why. Here she gives an inspired almost fully improvised emotionally believable performance that at times approaches melodrama without ever being over the top. For me it’s 2011’s best female lead and kind of evokes last year’s darling Natalie Portman’s go in Black Swan. Similar paths of mental breakdown. Different results of dealing with the endgame.

Melancholia I imagine will be forever a polarizing film. The decision to reveal the ending at the beginning will always seem controversial to casual film fans. But Von Trier is on record as stating he did not want the fate of the cosmic aspects of Melancholia to interfere with the exploration of how his characters deal with the existential details they find themselves having to endure. I think it’s the right choice. Long time Von Trier fans may be disappointed in his dipping into genre with his last film Antichrist and this one but much like Werner Herzog and even Pedro Almodovar I find it refreshing to see auteur’s attempting to wrestle with genre elements and attempting to elevate them.

I found Melancholia to be beautiful, moving, compelling, well-acted, and exceptionally directed, but most important thought provoking. I found myself wondering about the apocalyptic elements and the human emotional elements equally long after the film ended. It sticks with you.

Just one question: why couldn’t they ever get over that fucking bridge?

Melancholia: 4/4