MELANCHOLIA
Director: Lars von Trier
Country: Denmark
Runtime:
The film begins with an intro sequence, with a number of semi-abstract images of the main characters as well as images from space, showing the end of the world. Melancholia is divided into two parts, the first being a family drama about the girl Justine (Kirsten Dunst), who is alienated from her family at her own wedding.
Part two is an apocalyptic drama about Justine and her sister Claire (Charlotte Gainsbourg), who has to deal with the possible end of the world, as a previously unknown Counter-Earth planet, called Melancholia, is on collision course with Earth.
In part one, the young couple Justine and Michael (Alexander Skarsgård) are getting married at a castle, but the party is far from successful, as Justine’s divorced parents (John Hurt and Charlotte Rampling) are openly fighting at the dinner. Justine herself is both alienated from her sister, her new husband, her boss (Stellan Skarsgård) and her parents.
She drifts away from the party, and becomes increasingly depressed and desperate during the night. At several occasions, she looks at a specific star, which seems to shine brighter than normal. Claire’s husband John (Kiefer Sutherland) says it is the star Antares, and later in the movie the star disappears. At the end of the party, Michael leaves Justine, implying that their marriage is called off.
In part two, Justine has become severely depressed, and visits Claire and John, who lives in the same castle with their son Leo (Cameron Spurr). To begin with, Justine is unable to do normal everyday things like taking a bath or eat, but becomes more self confident over time.
It has been revealed that the reason for Antares’ disappearance was due to the planet Melancholia, which had previously been hidden behind the sun, had moved in front of the star and blocked it from view.
At the same time, Melancholia has become visible in the sky. John, being very keen on astronomy, is excited about the planet, and looks forward to the so-called fly-by, as Earth and Melancholia are supposed to pass by each other.
Claire is very fearful about the planet, and believes it is the end of the world. On the night of the fly-by, it seems that John was right, as Melancholia passes by Earth, and nothing happens. In the following days, however, it turns out that Melancholia is coming back around. As John finds out, he commits suicide by taking pills.
His dead body is found by Claire, who decides to keep it a secret. She then talks to Justine, who is extremely cynical about the impending doom. However, she tries to comfort Leo by building a crude shelter out of wooden sticks. The film ends with Justine, Claire and Leo sitting inside the shelter, as Melancholia collides with Earth.
It was like waking from a dream: my producer showed me a suggestion for a poster. “What is that?” I ask. ”It’s a film you’ve made!” she replies. ”I hope not,” I stammer. Trailers are shown ... stills ... it looks like shit. I’m shaken.
Don’t get me wrong ... I’ve worked on the film for two years. With great pleasure. But perhaps I’ve deceived myself. Let myself be tempted. Not that anyone has done anything wrong ... on the contrary, everybody has worked loyally and with talent toward the goal defined by me alone. But when my producer presents me with the cold facts, a shiver runs down my spine.
This is cream on cream. A woman’s film! I feel ready to reject the film like a wrongly transplanted organ.
But what was it I wanted? With a state of mind as my starting point, I desired to dive headlong into the abyss of German romanticism. Wagner in spades. That much I know. But is that not just another way of expressing defeat? Defeat to the lowest of cinematic common denominators? Romance is abused in all sorts of endlessly dull ways in mainstream products.
And then, I must admit, I have had happy love relationships with romantic cinema ... to name the obvious: Visconti!
German romance that leaves you breathless. But in Visconti, there was always something to elevate matters beyond the trivial ... elevate it to masterpieces!
I am confused now and feel guilty. What have I done?
Is it ’exit Trier?’ I cling to the hope that there may be a bone splinter amid all the cream that may, after all, crack a fragile tooth ... I close my eyes and hope!
Lars von Trier, Copenhagen, April 13, 2011.
Country: Denmark
Runtime:
The film begins with an intro sequence, with a number of semi-abstract images of the main characters as well as images from space, showing the end of the world. Melancholia is divided into two parts, the first being a family drama about the girl Justine (Kirsten Dunst), who is alienated from her family at her own wedding.
Part two is an apocalyptic drama about Justine and her sister Claire (Charlotte Gainsbourg), who has to deal with the possible end of the world, as a previously unknown Counter-Earth planet, called Melancholia, is on collision course with Earth.
In part one, the young couple Justine and Michael (Alexander Skarsgård) are getting married at a castle, but the party is far from successful, as Justine’s divorced parents (John Hurt and Charlotte Rampling) are openly fighting at the dinner. Justine herself is both alienated from her sister, her new husband, her boss (Stellan Skarsgård) and her parents.
She drifts away from the party, and becomes increasingly depressed and desperate during the night. At several occasions, she looks at a specific star, which seems to shine brighter than normal. Claire’s husband John (Kiefer Sutherland) says it is the star Antares, and later in the movie the star disappears. At the end of the party, Michael leaves Justine, implying that their marriage is called off.
In part two, Justine has become severely depressed, and visits Claire and John, who lives in the same castle with their son Leo (Cameron Spurr). To begin with, Justine is unable to do normal everyday things like taking a bath or eat, but becomes more self confident over time.
It has been revealed that the reason for Antares’ disappearance was due to the planet Melancholia, which had previously been hidden behind the sun, had moved in front of the star and blocked it from view.
At the same time, Melancholia has become visible in the sky. John, being very keen on astronomy, is excited about the planet, and looks forward to the so-called fly-by, as Earth and Melancholia are supposed to pass by each other.
Claire is very fearful about the planet, and believes it is the end of the world. On the night of the fly-by, it seems that John was right, as Melancholia passes by Earth, and nothing happens. In the following days, however, it turns out that Melancholia is coming back around. As John finds out, he commits suicide by taking pills.
His dead body is found by Claire, who decides to keep it a secret. She then talks to Justine, who is extremely cynical about the impending doom. However, she tries to comfort Leo by building a crude shelter out of wooden sticks. The film ends with Justine, Claire and Leo sitting inside the shelter, as Melancholia collides with Earth.
DIRECTORS STATEMENT
It was like waking from a dream: my producer showed me a suggestion for a poster. “What is that?” I ask. ”It’s a film you’ve made!” she replies. ”I hope not,” I stammer. Trailers are shown ... stills ... it looks like shit. I’m shaken.
Don’t get me wrong ... I’ve worked on the film for two years. With great pleasure. But perhaps I’ve deceived myself. Let myself be tempted. Not that anyone has done anything wrong ... on the contrary, everybody has worked loyally and with talent toward the goal defined by me alone. But when my producer presents me with the cold facts, a shiver runs down my spine.
This is cream on cream. A woman’s film! I feel ready to reject the film like a wrongly transplanted organ.
But what was it I wanted? With a state of mind as my starting point, I desired to dive headlong into the abyss of German romanticism. Wagner in spades. That much I know. But is that not just another way of expressing defeat? Defeat to the lowest of cinematic common denominators? Romance is abused in all sorts of endlessly dull ways in mainstream products.
And then, I must admit, I have had happy love relationships with romantic cinema ... to name the obvious: Visconti!
German romance that leaves you breathless. But in Visconti, there was always something to elevate matters beyond the trivial ... elevate it to masterpieces!
I am confused now and feel guilty. What have I done?
Is it ’exit Trier?’ I cling to the hope that there may be a bone splinter amid all the cream that may, after all, crack a fragile tooth ... I close my eyes and hope!
Lars von Trier, Copenhagen, April 13, 2011.
