The Majesty of Melancholia

When the opening sequence of a film is reminiscent of a series of Surrealist painting you know you are set for both a aesthetically and intellectually challenging ride.

"I'm trudging through this grey wholly yarn.  It's clinging to my legs.  It's really heavy to drag along."

These days Lars von Trier is more infamous for his strange Nazi outburst at Cannes this past summer, which is a shame because that has overshadowed what he has achieved with Melancholia and will inevitably damage the film's chances at future award ceremonies, though it is one of the cinematic stand-outs of the year.

Both visually and thematically, von Trier re-imagines the genre of the apocolyptic film.  The all consuming nature of depression has been given the an allegory as a new planet dubbed Melancholia that is veering towards the earth, threatening existence.  Compared to previous work, von Trier describes Melancholia as the moment when a deer wanders in to listen to Jiminy Cricket at the end of a Disney Christmas special. It is just about as comforting as the cruel manner in which Disney films lure you into a false sense of security only to then reveal a horrible reality.  Melancholia deals with the horror of existence and fear of non-existence.

Part One focuses on the perspective of Justine (Kirsten Dunst) and sees her public facade crumble on the night of her wedding.  Those around her personify the underlined tension, which magnifies each time Justine disappears from the party.

We not only experience Justine's disintegration due to the overwhelming gravitas of the wedding reception organised by her sister Claire (Charlotte Gainsbourg) and her "filthy-rich" husband John (Kiefer Sutherland), but also the effect that Justine's illness and erratic manner have on the various members of her family.  Her guileless husband (Alexander Skarsgard), her oblivious father (the exquisite John Hurt), and a mother (Charlotte Rampling) who has no filter.

The film becomes disconcerting because at first Justine has a vivacious energy, then comes her mental descent, as the stifling ritual of the wedding etches away at her vulnerable psyche.  Though Claire sees Justine's behaviour as disrespectful, there is a sense that Justine is desperately trying to fight and repair herself before the evening is ruined.  When she goes AWOL to take a bath, this is a healing action, an effort to cleanse away what is perceived as mental impurities.

Melancholia will be appreciated because of its refusal to depict unnecessary hysterics to communicate Justine's experience.  The indeterminacy her mentality in contained in an authentic and relatable mode of communication.

Throughout Part One, though an underlying resentment does emerge between Justine and Claire, yet Claire still remains loyal to her sister through her suffering.  In Part Two this theme is extended, though in reverse perspective.

We witness Claire battles her own neuroses, and the threat of Melancholia's ever-nearing presence reassigns the position of the sisters.  Justine is acquiescent and calm of impending events while Claire is frantic.  Call it her maternal instinct in wishing to protect her son, but Claire is unable to accept the forthcoming doom.  Her pragmatism unravels in the face of looming threat.

Dunst and Gainsbourg achieve a great symbiosis on screen.  They flesh out these sisters, their relationship and history, meanwhile never detracting focus from one another.  

Those familiar with Trier's older work, and Dogme '95 will see glints of the original guidelines within Melancholia's makeup. The manifesto included rules that emphasis the use of handheld camera, the work to be filmed in colour, and no superficial action (aka murder).  While the aforementioned aspects are noticeable here, von Trier has largely abandoned the restricting methods of Dogme.  

 The most impressive element of Melancholia is that it is able to maintain engaging momentum throughout its meditative exposition.  As surreal and disjointed as proceedings are, the emotion is relatable as it never veers in to the overblown territory that Hollywood would have taken it.