The latest work from Swedish visionary director, Lars Von Trier, Melancholia (2011) follows sisters Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg) during the final period of life on earth before it is destroyed by the incoming planet, Melancholia.
Set in two parts, the first half follows Justine, a clinically depressed newlywed, struggling to enjoy her lavish reception after marrying Michael (Alexander Skarsgård). In the second half we revisit the site of the reception owned by Claire and her husband John (Kiefer Sutherland) as they, along with Justine and their son Leo, watch the progress of the giant blue planet making its way towards them.
Despite its apocalyptic overtone, the film largely is based on the relationship between the two sisters and it is this aspect that lies at the core of the film that helps propel it to extraordinary heights. Focussing on themes such as emotional fragility as well as the complexity and, at the same time, insignificance of the human condition, Von Trier is able to explore ideas surrounding the entire existence of life on earth. But he ensures the film is kept oddly but wonderfully grounded through the brutally honest humanity conveyed by his actors throughout, especially by his two leads.
Kirsten Dunst has never been better as the film's main driver, as we watch her character struggle with the most complex of human emotions. We discover the effect this has on not only her and her sense of place in the world, but on the people around her. Similarly, Charlotte Gainsbourg is simply sublime as the anxious but empathetic Claire as she more or less carries the final act. A solid supporting cast, most notably Sutherland and Skarsgård, adds a large amount of depth to the film.
At times, Von Trier can be accused of being slightly self-indulgent when it comes to his stylistic tendencies. Most notably this included questionable framing of key shots, a shame considering the beautiful work done by the art department. However due to this indulgence Von Trier is also able to present some of the most beautiful images captured for film.
Met with ferocious polarisation at film festivals and screenings around the world, Melancholia is ultimately a complete triumph, questioning theories of life, love and the overall human condition, all through the eyes of these two sisters.
Set in two parts, the first half follows Justine, a clinically depressed newlywed, struggling to enjoy her lavish reception after marrying Michael (Alexander Skarsgård). In the second half we revisit the site of the reception owned by Claire and her husband John (Kiefer Sutherland) as they, along with Justine and their son Leo, watch the progress of the giant blue planet making its way towards them.
Despite its apocalyptic overtone, the film largely is based on the relationship between the two sisters and it is this aspect that lies at the core of the film that helps propel it to extraordinary heights. Focussing on themes such as emotional fragility as well as the complexity and, at the same time, insignificance of the human condition, Von Trier is able to explore ideas surrounding the entire existence of life on earth. But he ensures the film is kept oddly but wonderfully grounded through the brutally honest humanity conveyed by his actors throughout, especially by his two leads.
Kirsten Dunst has never been better as the film's main driver, as we watch her character struggle with the most complex of human emotions. We discover the effect this has on not only her and her sense of place in the world, but on the people around her. Similarly, Charlotte Gainsbourg is simply sublime as the anxious but empathetic Claire as she more or less carries the final act. A solid supporting cast, most notably Sutherland and Skarsgård, adds a large amount of depth to the film.
At times, Von Trier can be accused of being slightly self-indulgent when it comes to his stylistic tendencies. Most notably this included questionable framing of key shots, a shame considering the beautiful work done by the art department. However due to this indulgence Von Trier is also able to present some of the most beautiful images captured for film.
Met with ferocious polarisation at film festivals and screenings around the world, Melancholia is ultimately a complete triumph, questioning theories of life, love and the overall human condition, all through the eyes of these two sisters.
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