As Melancholia's closing credits begin to roll, nobody moves. You all wait for the customary credit music to start up, which it eventually does after a lengthy silence, and then breathe a sigh of relief. Maybe because making noise and exiting is now a real possibility, but honestly, it's more in response to having just taken in an intense and highly cinematic closing shot.
Melancholia is an emotionally engaging and profound experience. Since those closing credits rolled, I have gone from just liking this film, to appreciating the true scope of it, and as a result, have a strong desire to see it again very soon. It's an appreciation that has come about through reflection, considering the challenging theme it chooses to tackle, and the unique story with which it uses as a platform. Having never seen a Lars Von Trier film before, I had no preconceived expectation on style or substance. But after reading a short synopsis that sounded intriguing, and even more so, being drawn in by such an ethereal yet beautifully surreal poster, it became a must see.
The film opens with a stunning sequence that is set in the story's near future, and could be seen as somewhat of a spoiler for the film's main drama, that being the threat that a planet may collide with Earth. But as this is far from your average end of the world movie, it works to enhance the narrative that follows. The sequence is a few shots, slowed right down to almost frozen moments in time, letting one's eyes drift through each image, much like a painting. These shots draw similarities to other film's this year which have shown nature at its most dynamic. But with this there is purpose, you feel the engagement, as you realise the event, and watch the tragedy at its peak, whilst being in awe of the spectacle and the enchanting way it has been composed.
From here the film is presented in two parts, each titled after the two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg). Part one of the film focuses on Justine, and her wedding day, before the threat of a planet hitting Earth has been discovered. Claire and her husband John (Kiefer Sutherland) have put a tremendous amount of effort and money into Justine's wedding day, yet at the reception the bride struggles to remain happy and interested in the formalities. What is not immediately noticeable but becomes evident, is that Justine suffers from depression, and Kirsten Dunst plays it out perfectly. Putting on a fake smile, and pretending like nothing's wrong, even though it can't really be hidden. She is a soul lost in the illness. Cleverly the film presents depression without it becoming the focal point. It almost has an affective presence on the narrative, like it does a person, draining the story of its ability to be happy with all things perfect.
For the second part of the film, the imminent threat of a planet hitting and destroying Earth, becomes the centerpiece of the story, and is played out on a such a personal level, that it is very affecting. Claire becomes the focus, as she lives with John, her son, and a sick Justine, in a cottage on its own golf course, some distance from the local town. The isolation that is created by the location, means the outside world is somewhat non-existent. It is just four people, all with their own fears and emotional instabilities, reacting in entirely contrasting ways, to what could be the end of their life. It becomes a character study of sorts, as the human reaction is amplified, by the isolated circumstances. It uniquely made the threat so much more real, as the cliché of doom and gloom news reports, and shots of worldwide panic, were omitted, or probably never considered. It was so refreshing and added so much to the reality of the situation.
Melancholia is a highly ambitious film. It portrays the quiet suffering that is mental illness in a very real and damaging way, accompanying it with an end of the world scenario that can't help but be taken very seriously. Somehow, Lars Von Trier has been able to juxtapose two completely different topics together, so it is a seamless cohesion. It is a sad film no doubt, but it seems to simply represent a type of life that really exists. A life where things may be achievable, but a mental illness such as depression holds one back. The end of the world scenario facing a character suffering depression, brought to the fore the very real fact, that for no apparent reason, some people live far from enjoyable lives, that cruelly so it seems, are cut short before having any chance of improving. It's a subject that may be tough to watch, but is worth recognising, and in this film, feels so real. Best of all, it will have you thinking on numerous levels come the close.
Melancholia is an emotionally engaging and profound experience. Since those closing credits rolled, I have gone from just liking this film, to appreciating the true scope of it, and as a result, have a strong desire to see it again very soon. It's an appreciation that has come about through reflection, considering the challenging theme it chooses to tackle, and the unique story with which it uses as a platform. Having never seen a Lars Von Trier film before, I had no preconceived expectation on style or substance. But after reading a short synopsis that sounded intriguing, and even more so, being drawn in by such an ethereal yet beautifully surreal poster, it became a must see.
The film opens with a stunning sequence that is set in the story's near future, and could be seen as somewhat of a spoiler for the film's main drama, that being the threat that a planet may collide with Earth. But as this is far from your average end of the world movie, it works to enhance the narrative that follows. The sequence is a few shots, slowed right down to almost frozen moments in time, letting one's eyes drift through each image, much like a painting. These shots draw similarities to other film's this year which have shown nature at its most dynamic. But with this there is purpose, you feel the engagement, as you realise the event, and watch the tragedy at its peak, whilst being in awe of the spectacle and the enchanting way it has been composed.
From here the film is presented in two parts, each titled after the two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg). Part one of the film focuses on Justine, and her wedding day, before the threat of a planet hitting Earth has been discovered. Claire and her husband John (Kiefer Sutherland) have put a tremendous amount of effort and money into Justine's wedding day, yet at the reception the bride struggles to remain happy and interested in the formalities. What is not immediately noticeable but becomes evident, is that Justine suffers from depression, and Kirsten Dunst plays it out perfectly. Putting on a fake smile, and pretending like nothing's wrong, even though it can't really be hidden. She is a soul lost in the illness. Cleverly the film presents depression without it becoming the focal point. It almost has an affective presence on the narrative, like it does a person, draining the story of its ability to be happy with all things perfect.
For the second part of the film, the imminent threat of a planet hitting and destroying Earth, becomes the centerpiece of the story, and is played out on a such a personal level, that it is very affecting. Claire becomes the focus, as she lives with John, her son, and a sick Justine, in a cottage on its own golf course, some distance from the local town. The isolation that is created by the location, means the outside world is somewhat non-existent. It is just four people, all with their own fears and emotional instabilities, reacting in entirely contrasting ways, to what could be the end of their life. It becomes a character study of sorts, as the human reaction is amplified, by the isolated circumstances. It uniquely made the threat so much more real, as the cliché of doom and gloom news reports, and shots of worldwide panic, were omitted, or probably never considered. It was so refreshing and added so much to the reality of the situation.
Melancholia is a highly ambitious film. It portrays the quiet suffering that is mental illness in a very real and damaging way, accompanying it with an end of the world scenario that can't help but be taken very seriously. Somehow, Lars Von Trier has been able to juxtapose two completely different topics together, so it is a seamless cohesion. It is a sad film no doubt, but it seems to simply represent a type of life that really exists. A life where things may be achievable, but a mental illness such as depression holds one back. The end of the world scenario facing a character suffering depression, brought to the fore the very real fact, that for no apparent reason, some people live far from enjoyable lives, that cruelly so it seems, are cut short before having any chance of improving. It's a subject that may be tough to watch, but is worth recognising, and in this film, feels so real. Best of all, it will have you thinking on numerous levels come the close.