The list of filmmakers actively pushing the medium forward is quite short, and continues to slim down as many indie auteurs use their success to hang their hats on predictable studio fare. With “Melancholia,” director Lars von Trier stakes his claim as possibly the most exciting, innovative director of his generation, and he’s just hitting his stride. Casual filmgoers may only know von Trier from the widely quoted Nazi-themed remarks he made at this year’s Cannes Film Festival, which saw him banned for life from the fest that launched his career, while he vowed never to do another interview. Here’s hoping that filmgoers soon know him for this film instead, a visually stunning, emotionally arresting masterwork with solid commercial aspirations.
Von Trier sets the tone right off the bat with an epic slow motion introduction of despair. Those familiar with his previous film (“Antichrist”, another disturbing epic) have seen this approach before, but this time on a much larger scale. The inevitable path of events is revealed as we see a massive blue planet collide with the earth, while our main characters experience the end of days in slo-mo tableaus of such epic beauty one wonders where the film could possibly go from there. That things end, and badly, is now assured. Thankfully there is a very human story to be experienced before the world dies.
The film centers on two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg), who must put a happy face on their strained relationship during Justine’s wedding to Michael (Alexander Skarsgard), which is held at Claire and her husband John’s (Kiefer Sutherland) awe-inspiring country estate. Yet happy faces are rare for these two, as Justine is deep in the grips of a lifelong struggle with an intense depression, leaving Claire to manage the opulent party. Before events even get underway, Justine notices a curious blue star in the sky, an anxiety-inducing reminder that, for good or ill, the clock is ticking. Almost from the get go, it’s clear that Justine isn’t at all comfortable with the big wedding, and the awkward relationship between her divorced parents, morbid and brutally honest Gaby (Charlotte Rampling) and drunken ribald Dexter (John Hurt), doesn’t help things. Gaby’s wedding toast, telling her newly-married daughter to “enjoy it while it lasts” holds double meaning here, but Justine’s continuous attempt to flee shows that she isn’t enjoying anything. As the night continues, it almost seems like the end of the world couldn’t come fast enough.
The second part of the film takes place some days or weeks later. The blue dot in the sky has been named Melancholia, and it’s a planet that’s fallen out of rotation, now predicted to fly by the earth with odd effect but no real danger. While John couldn’t be more excited for the once in a lifetime opportunity to see another planet up close, Claire is overwhelmed with anxiety that the planet won’t miss them after all. Justine’s complete belief that the world is in fact about to end doesn’t help matters, and though Claire does her best to fake bravery for her young son Leo (Cameron Spurr), her calm exterior is cracking beyond repair.
All this leads up to the inevitable destructive conclusion, which in some ways lessens the importance of the plot. What takes precedence is the emotional world of the characters. They’ve all keenly experienced loss: family relationships, idealism, passion, love, and honesty are ideas that have no place in reality. The script is on message without wielding a heavy hand, and the outstanding cast is at their best with intense material. Dunst shows a depth and maturity not often found in previous performances, becoming the perfect vehicle for Lars von Trier’s thematic explorations. Manuel Alberto Claro’s cinematography is a joy to behold, and the score is gratifyingly cinematic while falling just short of melodrama.
With “Melancholia,” the viewer is treated to the type of original and fully realized vision that was lost with the passing of Stanley Kubrick. The film will appeal to hard core cinephiles, but the science fiction framework, exciting visuals, and top notch performances should bring in a larger audience. Much, much more could be said about this film and its transcendent conclusion, but words fall short of the experience. This is a film made for the big screen, and should stand up to additional viewings. But if you’re looking to cheer up a depressed friend, go elsewhere. In one devastating third act conversation, Justine tells Claire she is certain that when the earth dies, so does all life in the universe. After the agony of existence portrayed in “Melancholia,” one may end up hoping she’s right.
DIRECTOR: Lars von Trier SCREENWRITER: Lars von Trier CAST: Kirsten Dunst, Charlotte Gainsbourg, Alexander Skarsgard, Charlotte Rampling, Kiefer Sutherland, John Hurt, Stellan Skarsgard, Udo Kier MPAA RATING: R
Jason Chase Tyrrell is a writer, producer and distribution consultant from Venice, California, and the founder of Chunky Baby Productions. He has two feature screenplays in development, "Rainbow Snake Dreaming" (Woodburn Sweitzer Management) and "Erotomania: A Romance" (Chunky Baby Productions). Previously, Jason was the Director of Acquisitions for boutique distributor IndiePix Films, and now develops "go to market" distribution strategies for independent producers as a founding partner of MILK & HONEY.
