Lars Von Trier is best known for his constant controversy and experimental filmmaking movement, Dogme 95. Recently he hit the news after sympathising with Hitler at 2011’s Cannes Festival which after many complaints, he stated he wouldn’t do an interview again. Melancholia is far from similar to his previous film, Antichrist (2009), and explores a strained relationship between two sisters as the mysterious planet named Melancholia threatens all existence on Earth.
Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg) have a troubled relationship. Claire, the elder sister, is consistently battling Justine who appears to suffer from the mental illness of melancholia which brings on non-specific depression, a clever reference to the planet that is on course to crash (supposedly) into Earth. Though the two characters are relatable to a lot of sibling rivalry, it’s difficult to warm or experience a required amount of sympathy for either, as Kirsten’s performance, though impressive, is cold, bitter and unlikeable. A gleaming performance however comes from Keifer Sutherland, the star of hit T.V series 24. His sinister and down to earth character is consistently entertaining and intriguing to watch, especially due to his dramatic development in character, as the film unravels.
The cinematography is beautifully done throughout, with very natural tones and lighting, creating a very stereotypical, yet desirable, view of a country manor estate. This gives off a very fresh feel, much like Malick’s ‘The Tree of Life’. Along with the radiant atmosphere, Lars Von Trier’s directing style is very unique and engaging. A vast amount consists of hand held camerawork swaying from side to side. Though this is slightly noticeable from time to time, it’s an enticing way to get the audience to engage with the characters more.
Melancholia is marvellously shot and is stunning visually. The element bringing the film down is the protagonists, Claire and Justine, who are just so difficult to like! There are a lot heart tugging moments and many family issues arise. A sense of life’s meaning is provoked in the latter half of the film and essentially reinforces the strength of the final scene. Lars Von Trier’s latest is alluring, so don’t be put off by his previous work, as this is far more mild (and sane…).
