Review of Melancholia (2011) by Calr — 27 Feb 2012

As with all of Von Trier's work saying his films are an acquired taste is rather an understatement. However, I disagree with the public conception that his films are wholly pretentious and without meaning, because more often than not they are full of meaning.

Having followed Trier's career vaguely with interest other recent years, his most interesting films to note have been the muddling Dancer In The Dark and the unsettling Anti-Christ. Neither film was awful, yet Von Trier persists- as he does here- to enforce upon the viewer a unpleasing pacing for all of his films.

Melancholia is no different. It's build up in following the disaster of Dunst's wedding merely pads the films with material and not a lot of plot. However, this can be overlooked if we view what the feature actually is inherently: a character piece.

Fans of Anti-Christ will be with mixed views about this feature, as it resonates in similar themes and motifs, but that is not to say that in viewing Anti-Christ, then the beauty of Melancholia will be damaged somehow.

Ultimately, Gainsbourg and Dunst would have been worthy candidates for Oscar nominations, but still this is not mainstream circuit material. The cinematography is indisputably incredible, as is this features score, but what shines best with this feature, even with its mass of flaws (and there are many) is that what is being conveyed here- though the metaphor is rather heavy-handed- works incredibly well.

As a piece of science-fiction drama comparisons can be made to The Fountain, but whilst that film spends much of its time jumping over three timelines, there is enough here in continuity and anguish to deliver an emotional impact that is just as meaningful.

Between this and Drive, I would have to say Melancholia edges it slightly due to the formers over-simplistic, though beautifully told tale, whilst Melancholia yearns to be revisited, making it in my eyes the best film of the year.