It takes an intimate look at the end of the world, focusing on the emotional state of two sisters rather than the destruction of national landmarks. There are no sensational news reports, few CGI effects, and not a single kid fretting over the nighttime use of Pull-Ups (I’m looking at you, John Cusack’s daughter in “2012”).
“Melancholia,” directed by the controversial filmmaker Lars von Trier (“Dogville,” “Antichrist”), is more about the state of melancholia rather than a giant gaseous planet on a collision course with Earth (also called Melancholia). It’s available now on home video and is streaming on Netflix Instant starting April 13.
The movie is separated into two parts, the first focusing on the lavish wedding of Justine (Kirsten Dunst). She’s trying her best to be happy, but the combination of feuding parents, unrelenting bosses and her own emotional instability results in a miserable evening that serves as the catalyst for Justine’s pending mental illness.
The second half of the movie follows Justine, her seemingly together sister Claire (Charlotte Gainsbourg) and Claire’s husband John (Kiefer Sutherland) in the days before the newly discovered planet of Melancholia is scheduled to have a “near-miss” with our planet. John serves as a calming voice to Claire’s growing anxiety, while Justine has found comfort in the thought that her miserable life will soon, hopefully, come to an end alongside life as we know it.
The two halves don’t necessarily mesh together as a cohesive film, and there are stretches of “Melancholia” that feel needlessly padded. Still, the nihilist mood of the film, teamed with gorgeous cinematography and haunting performances from both Dunst and Gainsbourgh, has a crushing effect on the experience. Never has an “end-of-the-world” movie provided such genuine dread, especially in the final hour as the film ticks slowly toward disaster.
Some might even welcome the planet crashing into these miserable people.
“Melancholia” has been compared to “The Tree of Life” for its esoteric appeal. At least with “The Tree of Life,” some audiences will be patient enough to find hope and optimism in its cosmic imagery. “Melancholia” is more straightforward in its purpose: It wants to show you the crippling effects of depression and anxiety.
The fact that its message is more accessible makes “Melancholia” even more difficult to recommend. As a mood piece, it’s a brilliant piece of filmmaking. The question is, are you willing to live in the emotional state long after the credits have rolled? You’ve been warned: This movie will stick with you.