Melancholia | Film Review

Story by Dylan Bliss 

| Published Nov 29, 2011

Lars Von Trier follows up his high-stakes controversial drama “Antichrist” with a somber disaster piece about exploring depression and its impact on the ones around us. “Melancholia” is named for the rogue planet that, throughout the film, travels dangerously close to colliding with Earth, and becomes a constant source of catharsis as sisters Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg) react with increasing polarity. Isolated during and after a sorrowful wedding reception, ruined by the bride (Justine) and her crippling bout of depression, the sisters and their loved ones spend days and nights excitedly awaiting the passing of Melancholia. Claire suspects the worst, defying her husband (Kiefer Sutherland) despite his constant pleas of reassurance and careful calculation.
Stark and vast, camera shots glide creepily across a Swedish estate surrounded by beautiful flowing roughs and greens, as we witness the agonizing deconstruction of Justine and Claire. The film is separated into two parts dedicated to each sister. The audience is barely informed about the impending visit from the blue planet as we explore Justine’s initial battle with her own apathy. As the planet approaches, the focus shifts to the seemingly put-together Claire, and eventually her helplessness becomes overwhelming, forcing her into a frenzied state. Juxtaposing her sister’s romance against the world’s evil and destruction, this family portrait of emotional dismemberment plays out like a gorgeously swollen epic right up to its breath-taking conclusion.
“Melancholia” is a certified masterwork on all shades of sadness and chaos. Inspired by Lars Von Trier’s recent treatment for depression, he was told during his stay that those most depressed remain calm during stressful times; they expect bad things to eventually happen anyway. Each chapter of “Melancholia” plays out in a haunting slow motion sequence to start the film, including the reveal of Earth’s impending doom. It’s a welcome reprieve from his ultra-disturbing and erotic explorations of the past, and utilizes some special effects that were famously shunned in his previous films. It comes out as righteously thankless drama that shakes the foundations of cookie-cutter disaster films. Don’t miss out on this deeply satisfying film.