Melancholia Reviews

While Melancholia is not a perfect film and I can totally understand the polarisation, I found myself very much impressed by it. Some of the dialogue is rather awkward, one or two of the characters sketchy and there are a few ideas that are were introduced and broached but could have been explored more. The pros outweigh the cons though, because it is a ravishing film to look at. The settings are breathtaking, and while the cinematography has a technique that is not going to be everybody's cup of tea Melancholia was an example of its utilisation being effective and somewhat necessary. The music is likewise amazing, Wagner's Tristan and Isolde is one of my favourite pieces and was in sync with the visuals perfectly, very like a symphony on film. The story, while slowly paced, has emotional complexity and the groom's love and affection is done very tenderly. Its hybrid of European art-house and Hollywood sci-fi is very interesting. It is not an easy movie to like and get invested in straight away and does I think need to be seen more than once, but on repeat viewings you get more out of it and is rewarding as a result. The opening sequence is truly arresting and one of the best opening sequences of any film in recent years, while the ending is similarly moving. Lars Von Trier's direction is accomplished and never amateurish, again not for all tastes(I know many people who have a wide ranging taste in film and have never warmed to Von Trier). Other than the visuals and the opening, it was the acting that made the film as good as it was. Kirsten Dunst earned best actress and deservedly for a courageous- and her most meaty, performance. Charlotte Gainsburg is more composed but is a very well-characterised and affecting contrast. John Hurt and Charlotte Rampling as the parents give droll turns, while Udo Kier is appropriately surly. In conclusion, a very well film but understandably polarising. 8/10 Bethany Cox

A visually impressive but self-important film in which discomfiting (even excruciatingly bitter) interactions, neuroses and apocalyptic anxiety are bathed in romanticised visuals and music. Drawing it would seem on Trier's own experience of depression and on Kubrick and Tarkovsky for prophetic depth, the film grates more than it enlightens, and feels like a misanthropist's revenge. Charlotte Gainsbourg deserved much better.

Honestly, it had been a while since I saw a movie directed by Lars von Trier (I think at least 5 years), so I was really glad to watch one of his more recent work, especially since it was very well reviewed. By now, I have seen about half of his movies and, even though I have the highest respect for his work and I think he is truly an artist, I have to confess, I’m not a huge fan and this movie was a perfect example explaining why. I mean, first of all, it was gorgeous to look at, probably the most beautiful movie made by von Trier. Then, it was a really intriguing take on the doomsday concept, something really different than what we got from ‘Armageddon’ or ‘Deep Impact’. Still, I can’t say I really loved the damned thing though. I mean, I did enjoy and relate to his vision of how a big wedding can be daunting and dreary, even though as usual, he pushed it even further but I didn’t really get the connection with the impending apocalypse. Furthermore, even though Kirsten Dunst gave a fearless performance, probably the best of her career so far, her character slowly but surely got on my nerves. I mean, was she depressed? Psychotic? Difficult to say… Eventually, as usual with von Trier, the whole thing had some terribly dreariness and sorrow and I don’t think I will ever have a ‘good’ time watching one of his movies. To conclude, even though I wasn’t really blown away by the whole thing, there was definitely something quite mesmerizing about this flick and it is definitely worth a look, especially if you are interested in Lars von Trier’s work.

Melancholia is a Psychological movie about the end of the world. Melancholia is the name of a blue planet that is on the course of near miss to the earth a calculated by scientists.

The movie in the background of this collision story described the tales of two sisters Justine & Claire, how their lives are affected by the event.

The movie pace is quite low and action & fast pace loving movie viewers may get bored with the story, literally the Part one of the movie that is the about the marriage ceremony of Justine is quite draging, however the second part that is about Claire, is gripping being the scenario of possible collision of Melancholia unfolded and ended with the collision and subsequent end of world.

Some say that this is the most sensitive film by Lars von Trier (and who attribute it to a certain "maturity from the director"), a filmmaker who is famous for hype (which I love). Perhaps because it has been this strange feeling of contentment and discontent.
Each of the leading film is meticulously disguised, which leads to two paths: Lars wanted to communicate something through acts apparently trivial or these acts were banal alone and nothing else? I believe the first guess, since the director's job has always followed this line.
Would Justine's father be a humanized version of God? One to whom all turn when they need, but isn’t always (or almost never) there?
Interesting duality between the two sisters, one living in fear of another and afraid to die.
It is worth noting that, after taking literally a shower of melancholy, Justine seems to fill the void that slaughter, thus having the courage to face death (since would no longer live). Whoever loves life will never make a good death.
If I could give a name to Claire , it would be panic.
The vision of the world ending of Lars is really unique and is set almost exclusively on the psychological characters (the end of the physical world is almost accessory). This is perhaps the greatest merit of the film.
Lars von Trier continues its pessimistic view of the world, which he carried to an extreme in his previous movie, Antichrist. The structure, indeed, Melancholia, is very similar to its predecessor, with a prologue done in the same style (and much prettier than the last, say by the way). The direction remains at large, but poignant, and editing, aggressive (both trademarks of the filmmaker). The picture gave a jump of quality (perhaps the best shot of his films) .And the part of Tristan and Isolde, which is repeated throughout the film, is perhaps the best possible choice for the theme. As usual, Von Trier pulls female spectacular performances, but in my opinion, Kirsten Dunst doesn’t exceed Charlotte Gainsbourg.
Melancholy is a movie to see, to grasp in detail, and much thought, especially with regard to the meaning of life, happiness and empty rituals (like marriage completely masked).
I gave the final more credit for the visually jovial aspect. I thought that explosion very greatly done, there the issue of Lars could have acted more forcefully though.

Plenty of moments in Melancholia are painfully funny. Some moments are even painful to watch, but there was never a moment when I thought about the time or my next movie or did not care about the characters or had anything less than complete interest. Awesome special effects emulating the terrifying splendor of the end of days collide with an austere portrait of the varying reactions and outlooks that people are apt to experience as they stare death irrefutably in the face. It's an oddly tasteful, composed take on doomsday, utilizing the inexplicable influence of depression to approach and decode a hostile subject. With Lars Von Trier, I wouldn't expect anything less.

''It is a planet that has been hiding behind the sun, now it passes by us...''

Two sisters find their already strained relationship challenged as a mysterious new planet threatens to collide into the Earth.

Kirsten Dunst: Justine

When going to see a Lars Von Trier film you know you are in for something different, something unusual, something truly shocking. Ranging from the emotional Dancer in the Dark to a stylish Dogville and a terrifying Anti-Christ, his latest offering again doesn't disappoint the fans or newcomers. The latest offering being a drama and disaster film: Let us reflect on Melancholia and I will do my best to convey my thoughts on his latest work.



Very cleverly Melancholia begins with an artistic, slow motion montage which depicts the happenings in the film. This deposition results in a very symbolic offering, an offering of biblical proportions. Insects and animals, birds and horses, are falling and behaving in a crazed manner while Justin stands in a somewhat prophetic way with arms outstretched.
Ranging from raw emotion, to reflections on nature, on protecting animals and children (Claire holding her son while sinking into the earth of the golf course: Attempting to escape the inescapable), to the different stances regarding life differentiating the two sisters.
The film taunts us into wondering whether the world is ending or whether it is all a manifestation regarding the emotional state of Justine.
There is a chilling nihilistic strain and mist which drifts in from the dying proceedings. It almost feels as the film progresses we are pulled into a tomb-like atmosphere brought forth by the incoming planet Melancholia.

Kirsten Dunst who plays Justin gives the performance of her career. Perhaps her best to date as she fully absorbs herself into the troubled character.
The first half of the film fully concentrates itself on her wedding, it shows us her family, her boss, and very importantly her frame of mind.
Justine is a successful advertising copywriter who is getting married to Michael (Alexander Skarsgård). you would assume it would be the happiest day of her life. The wedding which is organized by her sister Claire (Charlotte Gainsbourg) and brother-in-law John (Kiefer Sutherland) is a lavishly elegant and epic affair held at a very isolated and large Swedish chateau. After the opening montage we come to Justine and Michael’s limo which can’t turn a corner to get them where they need to be. An example of the film having small doses of comedy and variety for us to consume.
John Hurt hiding spoons and flirting with women called Betty, the Wedding planner played by Udo Kier refusing to look at the bride because she ruins the proceedings by going for baths and disappearing frequently, and her mother Gaby played by Charlotte Rampling setting the par for crazy in the family. The send-up of bourgeois self-satisfaction that is surely implicit in having John deny the possibility of apocalypse: ''Trust me, I’m a scientist.'': It all is very bizarre, and very amusing. It sucks the audience in because we become interested yet accustomed to the characters and their habits.

Lars Von Trier is simply brilliant, though less flattering, a director of leading female actresses. His attention to the female face — and the rapture of suffering it can convey — is rivaled only by Carl Dreyer in The Passion of Joan of Arc.
Dunst, realizing the potential she showed in The Virgin Suicides and Eternal Sunshine of the Spotless Mind, draws strength from on her own public and personal displays of depression to portray a woman who is both young and old, wise and immature, deadened and very much alive to the dark ways of the world. The dual nature of a troubled young woman. Restless and bereft who has become hopeless with the grasping of the breathless truth.
There is one extraordinary scene, where she is shown lying naked by a stream bathing in the obliterating force of the approaching Melancholia. She is bathing in the light, the sadness which is consuming her and the planet. This is surely a metaphor for her deep depression destroying her life and everything around her, as well as being a straight forward physical rendition.

Melancholia isn't just a film. It is a piece of art. Refreshing and pure. Unusual and rewarding. It appears in a time when people need to be reminded that film is still an art form. Lars Von Trier gives us yet again another reminder from his imaginatively daring mind.
Kirsten Dunst gives an award worthy performance and Charlotte Gainsbourg again shows her versatility as an actress after her crazed role in Anti-Christ. Lars Von Trier has us falling in love with his female leads yet again by directing them in ways which wouldn't be amiss amongst the renaissance painters of old. He makes them shine. Melancholia shines. A sad, depressing reminder that life is a temporary asphyxiation. That life is special yet short. That we will hold on to what we love for as long as we can. This is a journey into the many facets of the psyche and regarding existence itself.

''All I know is life on earth is evil. I know we’re alone.''