Cannes 2011 Review: MELANCHOLIA

by: Chase Whale
May 18th, 2011

Rating: 5/5

Writer/Director: Lars von Trier
Cast: Kirsten DunstCharlotte GainsbourgKiefer SutherlandJohn HurtAlexander SkarsgårdStellan SkarsgårdBrady Corbet
Studio: Magnolia Pictures

mel·an·cho·li·a
[mel-uhn-koh-lee-uh, -kohl-yuh] – noun
1. a mental condition characterized by great depression of spirits and gloomy forebodings.
2. (often initial capital letter) the planet hiding behind the sun, having an equatorial diameter of 79260 miles (10x the size of Earth) and heading towards Earth, threatening the end of mankind.

This morning at the 64th Festival de Cannes, Lars von Triers' MELANCHOLIA screened for press. Having seen his previous work (ANTICHRIST, BREAKING THE WAVES, and DANCER IN THE DARK are the films most memorable to me), I walked in prepared to be fucked with. Amongst a few things, von Trier is known for shock cinema and striking visuals. The most shocking thing about MELANCHOLIA is that he doesn't tease the audience, but instead he guides them into the world of emptiness that weighs down on someone when their emotionally confused state has lead to them coming to a complete halt.

Ironically, I walked out of MELANCHOLIA with a feeling of hope and understanding. MELANCHOLIA is a powerful piece of beautiful and haunting cinema.

MELANCHOLIA takes place in a mansion (with its own golf course) the size of a castle owned by millionaire scientist John (Kiefer Sutherland) and his wife, Claire (Charlotte Gainsbourg). The couple is throwing a wedding reception for Claire's sister Justine (Kirsten Dunst) and her new husband Michael (Alexander Skarsgård) in their home. When we meet the newlyweds, they are late to their own party and everyone has been anxiously awaiting their arrival.

As the night progresses, we learn that something is very, very wrong with Justine - she's not happy and it seems that there is nothing that can fill her emptiness. The night ends, everyone leaves (including Michael), and Justine, Claire, John, and their son Leo spend the next five days together in the mansion, wondering where Justine went wrong. An even bigger possible tragedy is on the horizon, however, as we learn that there is a planet ten times the size of Earth that's been hiding behind the sun, called "Melancholia," and it's headed straight towards us, threatening the end of the world. As this newly discovered planet travels ever closer, Justine's sadness changes, for better or for worse.

MELANCHOLIA is not about the end of the world, but the end of a feeling: happiness. Everyone around Justine just wants her to be happy, but she can only feel everything but that. To understand sadness, you must feel it sometime in your life; von Triers' heart is filled with sadness and we see it in his films. Unlike his previous works, in which he aimed for us to feel the pain, in MELANCHOLIA, he wants us to understand it. I would go as far as to say that this feels like his most personal film to date.

Von Trier is known to create works that feels misogynist, but in MELANCHOLIA, things have taken a dramatic turn and it's the women who are strong. Dunst's Justine appears to be weak and helpless, but she is at war with her sadness - there's a lot of fight in her. Dunst dresses herself in Justine's melancholy and gives one hell of a performance. This is Dunst at her best - she's brilliant and darling and the camera loves her. Charlotte Gainsbourg is now a von Trier alum, and it's very apparent why: she can bring her desperation and depression down to a painful viewing experience, which is exactly what von Trier wants.

MELANCHOLIA also has a fairly large ensemble cast at von Trier's disposal, but the most notable performances here are John Hurt as the sisters' free-living father, Udo Kier as the embarrassed wedding planner, and Kiefer Sutherland as the reasonably irritated brother-in-law who's too proud.

MELANCHOLIA is oftentimes very hard to swallow, and we know from the first frame that our characters' story will not continue past the last frame. There are movies that are so good, but so painful that it's a breath of fresh air when the end credits begin. This is not one of those films. Only von Trier can create a terrific story about sadness that we want to see carry on past that last frame.

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  • Magdalena Teległow

    Must see it soon….

  • Xnathan Chase

    Justine says that life on Earth is evil, and you read
    Melancholia’s collision with Earth as the death of happiness? This sloppy review insults all who wish they could have seen the premiere of this important, exciting film.

    • http://www.twitter.com/chasewhale Chase Whale

      Dear xnathan,

      Have you seen the film? If so, you’d know that Justine’s happiness is the focus of the film – not the end of the world. I do appreciate your logical comment but I recommend seeing a film before posting your thoughts about it.

      With love,
      Chase

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  • Filipe Marcena

    I watched the film. This is the only review I’ve read that says exactly how I feel about it. I just wish it was longer, cause it’s so good to read. Congrats.

  • http://twitter.com/DantheMan610 Dan O’Neill

    Dunst was very good in this role but her character was just a little
    mopey for my liking. However, von Trier keeps his artistic vision
    in-tact and although there are moments of boredom, it still all comes
    together so well in the last 40 minutes. Great review. Check out my
    review when you get the chance.

  • Lappolozza

    The message of this movie is simple: ‘You normal people think we depressives are either nuts or stupid. Just wait till I kill everyone on the planet, then you’ll see we’re the ones who’ve got it right.” This is a message of hate to the human race. A disgusting film.

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