Melancholia

MELANCHOLIA

Written & Directed by Lars von Trier

Starring Kirsten Dunst, Charlotte Gainsbourg, John Hurt

A beautiful film about the end of the world.

Two years ago, polemic filmmaker Lars von Trier shocked audiences with the dense and harrowing ordeal of Anti Christ, in which he graphically and systematically tore a couple to pieces. With Melancholia, he takes on the end of the world, refining many of the stylistic experiments in the latter film, honing his symbolism and exercising a remarkable restraint in crafting what is perhaps the best film of this year.

The film begins with a profoundly beautiful series of slow motion vignettes, which give way to the narrative; structured in two parts and named after the female leads, sisters Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg). Justine is getting married, but is sinking into a mire of depression which Claire tries to combat. Meanwhile, a newly discovered astral body called Melancholia is set to pass the earth, but threatens to alter its path.

When leaving Anti Christ, the sense of horror felt numbed by the confusion left by von Trier's web of signifiers - many biblical, many Wiccan, and most quite obtuse in their reference. It felt obfuscating and unsatisfying. Here, the film's key metaphor is clearer, more accessible and far more resonant. It feels less as if von Trier is forcing an ordeal on his audience and rather inviting us to share this extremely personal moment in these people's lives.

He is helped along in this by a remarkable cast, almost all of whom are recognisable on sight. The supports all make enjoyable and often scene-steaing appearances - everyone from True Blood's Alexander Skarsgård to John Hurt to the hilarious Udo Kier is here in top form. Dunst, being the core of the film's marketing, has received much of the press attention (and a prestigious award at Cannes) but her performance is matched by Gainsbourg, who is stellar as the emotionally complex and wonderfully real role of Claire. Perhaps Gainsbourg feels more comfortable in this role, owing to the fact that she is not required to slice off her clitoris in this film. Kiefer Sutherland is also exceptional, though perhaps not so different to many of his other roles in recent years.

The opening is astoundingly beautiful - Zack Snyder, take note, this is how you use slow motion effectively. Lars' signature shaky cinematography is used to good effect, going so far as to make some moviegoers nauseous (perhaps intentionally). Without saying where this film leads, it can be said that it will stay with you long after you leave, shaking, from your seat.

Owing to the startling effect it had on this viewer, and the astonished exclamations of the audience's collective breath as the credits silently appeared, this will surely be one to revisit time and time again. In a year that has been filled with less-than-worthy blockbusters and tired slacker comedies, Melancholia is a shining centrepiece, and may even be 2011's crowning cinematic glory.