Melancholia (2011) - 8/10

I usually try to take at least a couple of notes while I am watching movies I plan to review. For Melancholia I took zero. I don't know exactly what that means though. 

This film, and Lars von Trier, have been on my radar for a very long time. But every time I have gotten close to watching, I balk. I find myself not 'in the mood'. Now that I have finally followed through, I truly don't know where my thoughts on this will go. I am going into the rubric to figure it out live I guess. 

1. Acting 

This film has some really talented actors in it, but is led primarily by the Kirsten Dunst and Chalotte Gainsbourg. Both actors are doing tremendous work throughout the film. Gainsbourg display great range and is able to convey emotions in both subtle and blunt ways. Her expression of anxiety in particular was evocative. 

Dunst, however, is absolutely outstanding. At this point in her career she had begun to take on projects and display ranges that suggested she was capable of giving a lot more than what Hollywood had been typecasting her as. In Melancholia I think she found that perfect project to showcase her full talent. She plays Justine's depression in such an authentic and real way that it can be hard to watch. You can see through every fake smile, you can see her struggle to maintain energy, you can see her pain at all times. You also see anger, frustration, apathy, and even small rays of fear.

2. Cinematography

This is, if nothing else, a very gorgeous film. 

The first half of the film is marked with a warm glowing lights and handheld close in shots. If you just watch the first 15 minutes you might think this to be an upbeat romantic movie. Slowly, however, we see what is happening with Justine behind her smiles. The warm yellow lighting is replaced with darker shadow filled rooms and the juxtaposition is striking and informative. The closeness of the camera to the actors also seems to be trying to elicit an intimacy with the audience, as if you are starting to be enveloped with the same struggles as the lead. 

The second half of the film switches from bright yellows to a more somber blue tint. The colors are becoming less and less bright and leaning into the melancholy. I also like that there are still some moments where that blue and green is used to imbue beauty into some of the shots- as if even through the drab some comfort can be found. 

3. Production/Costume Design

 The film takes place entirely at the same estate with a full 18 hole golf course attached. LVT has specifically referred to the look of the film as kitchy. I'm not sure whether the design/locale is meant to embody that, or if LVT is criticizing his own choices, but I assume the latter. Were meant to see the triviality and maybe even have a disgust for the setting. But maybe the film just doesn't go far enough in showing that.

4. Writing 

 LVT typically has scripts that are more of an outline and then leans on actors to improvise the scenes. He also apparently does not like repeating the same things and instead is trying to capture something for the first time with every shot. Point being, I don't know what was actually on the page for the film. The end result though, does feel unique and authentic. 

The film was born largely out of LVT's own experiences with depression and is part of his unofficial 'depression trilogy'. Despite there potentially not being much of a typical screenplay, the ability to capture depression so fully on screen is incredible. In particular, the film seeks to explore the ability of those experiencing depression to remain calmer than those around them during crises because they are primed to expect the worse to happen. 

The film is broken up into two main parts: one centered on Justine and her wedding night, the second on Claire in the final days of Earth. In a lot of ways each sister represents the intertwined natures of depression and anxiety. Their sisterly relationship then becomes a direct reflection of how those two disorders can both compliment and exacerbate each other. It's a really smart way to depict the themes of the film. 

As for plot, it reminds me of a more specific and elevated version of Deep Impact. Both films explore what the effect of an impending apocalypse would have on people. Melancholia, is just much less interested in the science fiction parts of itself, and is much more focused on the underlining emotions people struggle with; both on a daily basis and in the face of cataclysm.

5. Sound Design 

 The film makes frequent use of the prelude to Richard Wagner's opera Tristan und Isolde. The opera is about many things, but prominently features themes of suffering and destruction. Its a kindred spirit for Melancholia and its presence here not only amplifies the emotion of the film, but its beauty as well.

6. Editing 

 Without a ton of plot actually happening, the 130 minute runtime may be a bit excessive. The performances and visuals go a long way to keep you engrossed, but the movie does linger longer than it probably needs to at times. Then again, depression and anxiety don't exactly pop in for a quick visit so maybe the length is intentional rather than indulgent.

7. Visual Effects

 The VFX are minimal but used to great effect. The opening prelude, moonlight scenes, and Melancholy are all well executed despite the small budget. The bulk of the work was likely designing the incoming planet and compositing work to help amplify the stark visuals.

 8. Originality or Strength of Adaptation 

 I can definitely say I've never seen a movie quite like this. Its depiction of depression is remarkably effective and the places it goes are surprising and emotional.

9. Stunt Coordination 

 Not much in the way of stunts.

10. Direction

LVT definitely has my attention now. I think Melancholia is known to be some his more approachable work so I wonder what I will think of his more esoteric pieces when they come up. I've already said a lot about the power built into the film so I don't have much more to say here.

 Legacy/Final Thoughts

LVT may be one of the few 'artist' type filmmakers that American audiences are familiar with. His work is probably more akin to 'art house' or 'french new wave' at least in terms of style. His work is very experimental and, on more than one occasion, controversial. 

Sadly as I researched a bit for this review I learned of von Trier's diagnosis with Parkinson's and his more recent admission to a care facility. I imagine we won't have much new work from the director if that is the case. He seems to have struggled with many things throughout his life and used his art as a way to express or explore those things. I imagine Melancholia's legacy then, is a reminder that while film is not thought of as a 'refined' type of art like a renaissance painting, it certainly can be in the right hands.