Melancholia (2011 film)
||This article possibly contains original research. (August 2015)|
Theatrical release poster
|Directed by||Lars von Trier|
|Produced by||Meta Louise Foldager
|Written by||Lars von Trier|
|Cinematography||Manuel Alberto Claro|
|Edited by||Molly Malene Stensgaard|
|Distributed by||Nordisk Film (Denmark/Sweden)
Les films du losange (France)
Concorde Filmverleih (Germany)
Theatrical runtime: 135:30
DVD/Blu-Ray runtime: 136 minutes.
|Budget||52.5 million kr
(approx. U.S. $9.4 million as of Aug. 2010)
Melancholia is a 2011 Danish drama art film written and directed by Lars von Trier, starring Kirsten Dunst, Charlotte Gainsbourg, Alexander Skarsgård, Cameron Spurr, and Kiefer Sutherland. The narrative revolves around two sisters during and shortly after the wedding of one of them, while an approaching rogue planet is about to collide with Earth. Von Trier's initial inspiration for the film came from a depressive episode he suffered and the insight that depressed people remain peaceful in catastrophic events. The film is a Danish production by Zentropa, with international co-producers in Sweden, France, and Germany. Filming took place in Sweden.
Melancholia prominently features music from the prelude to Richard Wagner's opera Tristan und Isolde (1857–59). It is the second entry in von Trier's unofficially titled "Depression Trilogy", preceded by Antichrist and followed by Nymphomaniac.
The film begins with an introductory sequence involving the main characters and images from space and introducing many of the film's visual leitmotifs. These are motifs of virtually still images revealing the key elements of the film: Justine the bride in deep melancholy with birds falling behind her; of a lawn with trees and sundial with two different shadows; Pieter Breughel's Hunters in the Snow (often used as interpretation of an idealised nostalgia) burning; the non existent 19th hole (limbo) and the Black Horse collapsing catastrophically in slow motion (Id, ego and super-ego battle); Justine as a bride being swept along by a river; and her being held back by her wedding dress; and finally Justine and her nephew building their magic cave before the Earth crashes into Melancholia becoming one.
Part One: "Justine"
The Act “Justine” is of an ideal and perfect wedding (an intense metaphor for the pressures and curves of life) that sweeps bride Justine along and which challenges Justine’s fragile world.
This act begins with a clumsy, oversized wedding vehicle unable to negotiate a curve in the road.
Newlyweds Justine and Michael arrive two hours late to their own reception at the family estate, where Justine's sister, Claire, and her husband, John, reside. Justine happens to notice a particularly bright red star in the twilight sky, which John identifies as Antares, a red supergiant approximately 550 light-years from Earth.
During the course of the wedding we realise that each of the characters and events represents metaphors of the conscious, preconscious, and unconscious self. These metaphors are developed during the night of the wedding reception. Her brother-in-law, John, represents sacrifice (cost of the wedding) and social conformity. Little Father the lodge manager is repression. Her dad is hedonistic, narcissistic and selfish therefore unable to connect at a meaningful level with Justine. Her mother, Gaby (honesty) is brutally ruthlessly and pathologically honest which makes her persona non grata and gets her thrown out of the wedding. However, Justine’s sister Claire, who represents order, urges Justine to hide her debilitating melancholy from her bland, gormless, doting husband, Michael (this is highlighted by his wedding speech). After Claire’s request that Justine repress her true self for her marriage, Justine escapes the wedding reception despite being held back by her wedding dress, which tears. She then goes to the golf course and whilst watching Melancholia’s approach to Earth, squats and urinates on the 18th hole (ultimate success).
Her boss represents ruthless greed and gluttony. During the most personal part of the wedding speech he is hustling her to promote a vacuous and spiritually empty campaign based on a modern facsimile of Bruegel’s The Land of Cockaigne (mythical land of excess). She later opens a book at this picture. During the critical part of the wedding, cake cutting, Justine and her mother independently escape to have baths, to seemingly cleanse themselves of the social deception of the wedding.
Her boss's nephew (ambition/ego) is given the chance to exploit the opportunity to get the tag line at all costs to promote his career, a task similar to what at which Justine was previously so successful. He is later fired for his failure. Justine, recognising her complicity, aggressively resigns. She cannot consummate her wedding with her dull husband and goes out on a sand trap and copulates with her boss’s nephew, a professional kindred spirit. He later suggests due to their similarity that they form a business together; Justine declines curtly. Her gormless husband departs.
Part Two: "Claire"
Act 2 "Claire” deals with Justine’s relationship with her sister, Claire. It also follows Justine’s mental decay and reawakening as the inevitable Melancholia collision approaches. This contrasts with the exact opposite reaction of “rational” Claire.
John explains that the reason for Antares' disappearance was because the newly discovered planet Melancholia was blocking the star from view. Melancholia, a rogue planet gas giant that entered the Solar System from behind the Sun, becomes visible in the sky as it approaches ever closer to Earth. John is excited about the planet and looks forward to the "fly-by" predicted by scientists.
During Justine's deepest, almost catatonic depression her sister is unable to cleanse her in the bath, expressive of her inability to submit to any more social deception. Justine is so numb that even her favourite dish offered and made specially for her by Claire tastes of ash.
Before the reception Justine proudly claims to be only one to ride the Black Horse (id); her brother-in-law, John, under his breath says that he the horse is also loyal to him. As Justine decays, her connection to the Black Horse (id/ subconscious) becomes more remote and frustrated. On two occasions the horse refuses to cross a bridge over a river to the non existent 19th hole (limbo). As Justine disintegrates she get more brutal with her frustration with the horse’s refusal, finally, mercilessly whipping it to the ground.
Claire becomes very fearful that the end of the world is imminent, in spite of her husband's reassurances that everyone will be safe. She searches the Internet and finds an article predicting that the movements of Melancholia around the Earth will bring the two planets into a full-on collision soon afterward. Justine tells her sister that she has the ability to predict with certainty events such as the number of beans in a bottle and she confident that Melancholia will meet with Earth, this being a good thing as life itself is evil, which from her tortured battle would be valid. As the end is becoming more certain, Little Father (repression) disappears. On the night of the fly-by it seems that Melancholia will merely pass very near without striking the Earth. The next day, however, Claire realizes that Melancholia is circling back and will collide with Earth after all.
The certainty that Melancholia is making its terminal rotation back to Earth is at odds with the certainty of a safe fly-by John has had, a fact that always been a reality for Justine. On realising his fallibility John the only other person to ride the now distressed Black Horse fatally poisons himself in the Black Horse’s stable. The horse calms down this parallels Justine’s new calmness in adversity. Claire on finding him dead releases the horse to now be free. In this adversity Justine becomes the spiritually the strongest person and “at home”. She has a bath stating that she is now all clean.
Claire tries to escape the golf course but the golf cart shuts down on the same bridge frustrating her. She returns to the lodge as the world begins its demise. Faced with the impending collision, Claire becomes distraught and suggests getting together on the terrace with wine and music. In response, a surprisingly calm yet angry Justine dismisses her idea.
Her young nephew being scared is reassured by Justine who says that they can be safe in a magic cave something she has promised several times in the film to make. This contrasts with her earlier statement during her dark melancholy that there is “nowhere to hide”.
- Kirsten Dunst as Justine
- Charlotte Gainsbourg as Claire
- Alexander Skarsgård as Michael
- Kiefer Sutherland as John, Claire's husband
- Cameron Spurr as Leo
- Charlotte Rampling as Gaby, Justine and Claire's mother
- John Hurt as Dexter, Justine and Claire's father
- Jesper Christensen as Little Father, The Butler
- Stellan Skarsgård as Jack, Justine's boss
- Brady Corbet as Tim
- Udo Kier as The Wedding Planner
The idea for the film originated during a therapy session Lars von Trier attended during treatments for his depression. A therapist had told von Trier that depressive people tend to act more calmly than others under heavy pressure, because they already expect bad things to happen. Von Trier then developed the story not primarily as a disaster film, and without any ambition to portray astrophysics realistically, but as a way to examine the human psyche during a disaster.
The idea of a planetary collision was inspired by websites with theories about such events. Von Trier decided from the outset that it would be clear from the beginning that the world would actually end in the film, so audiences would not be distracted by the suspense of not knowing. The concept of the two sisters as main characters developed via an exchange of letters between von Trier and the Spanish actress Penélope Cruz. Cruz wrote that she would like to work with von Trier, and spoke enthusiastically about the play The Maids by Jean Genet. As von Trier subsequently tried to write a role for the actress, the two maids from the play evolved into the sisters Justine and Claire in Melancholia. Much of the personality of the character Justine was based on von Trier himself. The name was inspired by the 1791 novel Justine by Marquis de Sade.
Melancholia was produced by Denmark's Zentropa, with co-production support from its subsidiary in Germany, Sweden's Memfis Film, France's Slot Machine and Liberator Productions. The production received 7.9 million Danish kroner from the Danish Film Institute, 600,000 euro from Eurimages and 3 million Swedish kronor from the Swedish Film Institute. Additional funding was provided by Film i Väst, DR, Arte France, CNC, Canal+, BIM Italy, Filmstiftung Nordrhein-Westfalen, Sveriges Television and Nordisk Film & TV-Fond. The total budget was 52.5 million Danish kroner.
Cruz was initially expected to play the lead role, but dropped out when the filming schedule of another project was changed. Von Trier then offered the role to Kirsten Dunst, who accepted it. Dunst had been suggested for the role by the American filmmaker Paul Thomas Anderson in a discussion about the film between him and von Trier.
Principal photography began 22 July and ended 8 September 2010. Interior scenes were shot at Film i Väst's studios in Trollhättan, Sweden. It was the fourth time Trier made a film in Trollhättan. Exteriors included the area surrounding the Tjolöholm Castle. The film was recorded digitally with Arri Alexa and Phantom cameras. Trier employed his usual directing style with no rehearsals; instead the actors improvised and received instructions between the takes. The camera was initially operated by Trier, and then left to cinematographer Manuel Alberto Claro who repeated Trier's movements. Claro said about the method: "[von Trier] wants to experience the situations the first time. He finds an energy in the scenes, presence, and makes up with the photographic aesthetics." Trier explained that the visual style he aimed at in Melancholia was "a clash between what is romantic and grand and stylized and then some form of reality", which he hoped to achieve through the hand-held camerawork. He feared however that it would tilt too much toward the romantic, because of the setting at the upscale wedding, and the castle, which he called "super kitschy".
The prelude to Richard Wagner's Tristan und Isolde supplies the main musical theme of the film, and Trier's use of an overture-like opening sequence before the first act is a technique closely associated with Wagner. This choice was inspired by a 30-page section of Marcel Proust's In Search of Lost Time, where Proust concludes that Wagner's prelude is the greatest work of art of all time. Melancholia uses music more than any film by Trier since The Element of Crime from 1984. In some scenes, the film was edited in the same pace as the music. Trier said: "It's kind of like a music video that way. It's supposed to be vulgar." Trier also pointed out parallels between both the film's usage of Wagner and the film's editing to the music and the aesthetics of Nazi Germany.
Visual effects were provided by companies in Poland, Germany and Sweden under special effects supervisor Peter Hjorth. Poland's Platige Image, which previously had worked with Trier on Antichrist, created most of the effects seen in the film's opening sequence; the earliest instructions were provided by Trier in the summer 2010, after which a team of 19 graphic artists worked on the project for three months.
During Nymphomaniac, a monologue by the title character about loneliness is edited to shots of the universe from Melancholia.
Shortly before the film's premiere, Trier published a "director's statement", where he wrote that he had started to regret having made such a polished film, but that he hoped it would contain some flaws which would make it interesting. The director wrote: "I desired to dive headlong into the abyss of German romanticism.... But is that not just another way of expressing defeat? Defeat to the lowest of cinematic common denominators? Romance is abused in all sorts of endlessly dull ways in mainstream products."
The premiere took place at the 2011 Cannes Film Festival, where Melancholia was screened in competition on 18 May. The press conference after the screening gained considerable publicity. The Hollywood Reporter's Scott Roxborough wrote that "Von Trier has never been very P.C. and his Cannes press conferences always play like a dark stand-up routine, but at the Melancholia press conference he took it to another level, tossing a grenade into any sense of public decorum." Trier first joked about working on a hardcore pornographic film that would star Dunst and Gainsbourg. When asked about the relation between the influences of German Romanticism in Melancholia and Trier's own German heritage, the director brought up that he had been raised believing his biological father was a Jew, only to learn as an adult that his actual father was a German gentile. He then made jokes about Jews and Nazis, said he understood Adolf Hitler and admired the work of architect Albert Speer, and jokingly announced that he was a Nazi. The Cannes Film Festival issued an official apology for the remarks the same day and clarified that Trier is not a Nazi or an anti-Semite, then declared the director "persona non grata" the following day. This meant he was not allowed to go within 100 meters of the Festival Palace, but he did remain in Cannes and continued to give promotional interviews.
The film was released in Denmark on 26 May 2011 through Nordisk Film. Launched on 57 screens, the film entered the box-office chart as number three. A total of 50,000 tickets were eventually sold in Denmark. It was released in the United Kingdom and Ireland on 30 September, in Germany on 6 October and in Italy on 21 October. Magnolia Pictures acquired the distribution rights for North America and it was released on 11 November, with a pre-theatrical release on 13 October as a rental through such Direct TV vendors as Vudu and Amazon.com. Madman Entertainment bought the rights for Australia and New Zealand.
The film has received mostly positive reviews; it maintains a 77% "Fresh" rating on Rotten Tomatoes, with the consensus: "Melancholia 's dramatic tricks are more obvious than they should be, but this is otherwise a showcase for Dunst's acting and for Lars von Trier's profound, visceral vision of depression and destruction."
Kim Skotte of Politiken wrote that "there are images – many images – in Melancholia which underline that Lars von Trier is a unique film storyteller", and "the choice of material and treatment of it underlines Lars von Trier's originality." Skotte also compared it to the director's previous film: "Through its material and look, Melancholia creates rifts, but unlike Antichrist I don't feel that there is a fence pole in the rift which is smashed directly down into the meat. You sit on your seat in the cinema and mildly marveled go along in the end of the world." Berlingske's Ebbe Iversen wrote about the film: "It is big, it is enigmatic, and now and then rather irritating. But it is also a visionary work, which makes a gigantic impression." The critic continued: "From time to time the film moves on the edge of kitsch, but with Justine played by Kirsten Dunst and Claire played by Charlotte Gainsbourg as the leading characters, Melancholia is a bold, uneven, unruly and completely unforgettable film."
Steven Loeb of Southampton Patch wrote, "This film has brought the best out of von Trier, as well as his star. Dunst is so good in this film, playing a character unlike any other she has ever attempted, that she won the award for Best Actress at the Cannes Film Festival this past May. Even if the film itself were not the incredible work of art that it is, Dunst’s performance alone would be incentive enough to recommend it."
Sukhdev Sandhu wrote from Cannes in The Daily Telegraph that the film "at times comes close to being a tragi-comic opera about the end of the world," and that, "the apocalypse, when it comes, is so beautifully rendered that the film cements the quality of fairy tale that its palatial setting suggests." About the actors' performances, Sandhu wrote: "all of them are excellent here, but Dunst is exceptional, so utterly convincing in the lead role – trouble, serene, a fierce savant – that it feels like a career breakthrough. Meanwhile, Gainsbourg, for whom the end of the world must seem positively pastoral after the horrors she went through in Antichrist, locates in Claire a fragility that ensures she's more than a whipping girl for social satire." Sandhu brought up one reservation in the review, in which he gave the film the highest possible rating of five stars: "there is, as always with Von Trier's work, a degree of intellectual determinism that can be off-putting; he illustrates rather than truly explore ideas." Peter Bradshaw, writing for The Guardian, called the film "clunky" and "tiresome", judging it to be "conceived with[out] real passion or imagination", and not "well written or convincingly acted in any way at all", and gave it two stars out of a possible five.
Dunst received the Best Actress Award at the closing ceremony of the Cannes Film Festival. The film won three awards at the European Film Awards for Best Film, Best Cinematographer (Manuel Alberto Claro), and Best Designer (Jette Lehmann).
The US National Society of Film Critics selected Melancholia as the best picture of 2011 and named Kirsten Dunst best actress. The film was also nominated for four Australian Academy of Cinema and Television Arts Awards: Best Film – International; Best Direction – International for von Trier, Best Screenplay – International also for von Trier, and Best Actress – International for Dunst.
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Han vil opleve situationerne første gang. Han finder en energi i scenerne, nærvær, og gør op med fotoæstetikken.
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- Trier subsequently announced production of the film Nymphomaniac, which would contain hardcore sequences and would, indeed, co-star Gainsbourg.
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Der er billeder – mange billeder – i 'Melancholia', som understreger, at Lars von Trier er en unik filmfortæller." "Valget af stof og behandlingen af det understreger Lars von Triers originalitet." "I kraft af sit stof og sit look sætter ’Melancholia’ skel, men i modsætning til 'Antichrist' føler jeg ikke, der i skellet er en hegnspæl, der bliver banket direkte ned i kødet. Man sidder på sin række i biografen og følger mildt forundret med i verdens undergang.
- Iversen, Ebbe (18 May 2011). "Ebbe Iversen: Triers nye film er mægtig og mærkelig". Berlingske (in Danish). Retrieved 26 May 2011.
Den er stor, den er gådefuld, og nu og da er den temmelig irriterende. Men den er også et visionært værk, som gør et gigantisk indtryk." "Undertiden bevæger filmen sig på kanten af kitsch, men med Kirsten Dunst som Justine og Charlotte Gainsbourg som Claire i spidsen er "Melancholia" en dristig, ujævn, uregerlig og helt uforglemmelig film.
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|Wikimedia Commons has media related to Melancholia (2011 film).|
- Official website
- Melancholia at the Internet Movie Database
- Melancholia at Box Office Mojo
- Melancholia at Rotten Tomatoes
- Melancholia at Metacritic