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Melancholia is a 2011 psychological drama science fiction art film written and directed by Lars von Trier and starring Kirsten Dunst, Charlotte Gainsbourg, and Kiefer Sutherland, with Alexander Skarsgård, Brady Corbet, Cameron Spurr, Charlotte Rampling, Jesper Christensen, John Hurt, Stellan Skarsgård, and Udo Kier in supporting roles. The film's story revolves around two sisters, one of whom is preparing to marry just before a rogue planet is about to collide with Earth.

Melancholia
Theatrical release poster
Directed byLars von Trier
Produced by
  • Meta Louise Foldager
  • Louise Vesth
Written byLars von Trier
Starring
  • Kirsten Dunst
  • Charlotte Gainsbourg
  • Alexander Skarsgård
  • Brady Corbet
  • Cameron Spurr
  • Charlotte Rampling
  • Jesper Christensen
  • John Hurt
  • Stellan Skarsgård
  • Udo Kier
  • Kiefer Sutherland
CinematographyManuel Alberto Claro
Edited byMolly Malene Stensgaard
Production
company
  • Zentropa
  • Memfis Film
  • Slot Machine
  • Liberator Productions
  • Film i Väst
  • Danmarks Radio
  • arte France Cinéma
  • Sveriges Television
  • Canal+
  • Centre national du cinéma et de l’image animée
  • CinéCinéma
  • Edition Video
  • Nordisk Film
  • Det Danske Filminstitut
  • Eurimages
  • Swedish Film Institute
  • Filmstiftung Nordrhein-Westfalen
Distributed by
  • Nordisk Film (Denmark)
  • Les films du losange (France)
  • Concorde Filmverleih (Germany)
Release date
  • 18 May 2011 (2011-05-18) (Cannes)
  • 26 May 2011 (2011-05-26)
Running time
135 minutes
Country
  • Denmark
  • Sweden
  • France
  • Germany
LanguageEnglish
Budget
  • 52.5 million kr
  • (c. USD$9.4 million (Aug 2010))
Box office$15.9 million

Von Trier's initial inspiration for the film came from a depressive episode he suffered. 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 (1857–1859). It is the second entry in von Trier's unofficially titled "Depression Trilogy", preceded by Antichrist and followed by Nymphomaniac.

Melancholia premiered 18 May 2011 at the 64th Cannes Film Festival—where it was critically lauded. Dunst received the festival's Best Actress Award for her performance, which was a common area of praise among critics. Although not without its detractors, many critics and film scholars have considered the film to be a personal masterpiece, and one of the best films of 2011.

Screenplay

The film begins with an introductory sequence involving the main characters and images from space. These virtually still images reveal 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 Brueghel's The Hunters in the Snow burning; the black horse collapsing in slow motion; Justine as a bride being swept along by a river; her wedding dress tangled in plant matter; and finally Justine and her nephew building their magic cave before Melancholia crashes into Earth.

Part One: "Justine"

Delayed by their stretch limousine’s difficulty traversing the narrow winding rural road, newlyweds Justine and Michael arrive two hours late for their own wedding reception at the estate of Justine's sister, Claire, and her husband, John. Justine has a dysfunctional family: brother-in-law John appears to resent having to pay for the wedding; father Dexter is hedonistic and selfish to the point of narcissism, while mother Gaby is brutally outspoken leading John to throw her out of the house. No one asks what Justine wants, or why she is unhappy, but throughout her wedding she is praised for being beautiful. Claire urges Justine to hide her debilitating melancholy from her new husband Michael. Justine flees the wedding reception in a golf cart, uncaringly tearing her wedding dress when it catches on the cart. At the nineteenth hole of the golf course that surrounds the house, she watches the night sky, squatting to urinate.

Justine's boss, Jack, is ruthless, greedy, and gluttonous. During the most personal part of his wedding speech, he hassles her to meet a deadline for her work as an advertising copywriter on the night of her wedding. He pushes her throughout the evening to create a tagline to promote a campaign based on a modern facsimile of Bruegel’s The Land of Cockaigne (the mythical land of excess). She later opens an art book at this painting. During the ceremonial cutting of the wedding cake, Justine and Gaby independently escape to take baths.

Justine's boss's nephew, Tim, is given the chance to exploit the opportunity to get the tagline at all costs in order to promote his career: a task similar to what Justine was previously so successful at. He reluctantly, but doggedly, pursues Justine throughout the wedding reception. She cannot consummate her marriage with her husband and eventually goes out onto a sand trap and has sex with Tim. Unable to get the tagline from Justine, Tim is later fired for his professional failure, but Justine also resigns, telling Jack that he is a "despicable, power-hungry little man." After several hours of being alienated from each other, Justine and Michael quietly agree to call off the marriage. Michael departs. Early the following morning, while horseback riding with Claire, Justine notices Antares is no longer visible in the sky.

Part Two: "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 that entered the Solar System from behind the Sun, has now become 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.

 
Melancholia's first approach and final collision with Earth, as described (and shown briefly in a similar diagram) in the film

A few months after the failed wedding, Justine's depression has grown even worse. She is placed in the care of Claire and John. Justine is essentially catatonic and Claire is unable to help her. Claire is unable, even, to help her sister into the bath. Justine eventually admits that she is so numb that even her favourite meal tastes of ash.

As Justine seems to lose her sanity, her connection to her beloved black horse Abraham becomes more remote and frustrating. On two occasions, the horse refuses to cross a bridge over a river. Justine acts more brutally toward the horse and eventually whips him mercilessly to the ground.

Meanwhile Claire is fearful that the end of the world is imminent, despite her husband's assurances. She searches the Internet and finds an article predicting that Melancholia and the Earth will, in fact, collide. Her husband assures her that these anecdotes are written by "prophets of doom" looking for their 15 minutes of fame. Claire tries to relax. The next day, a somewhat-healthier Justine confesses to Claire that she simply "knows" certain things—like the number of beans in the bottle at her wedding reception, and that Earth and Melancholia will actually destroy each other. What's more, Justine says: this is a good thing, because the Earth is evil.

That night, Melancholia passes safely by Earth, as predicted by the scientists (to great relief). However, the next day Claire realizes (when using a simple homemade device made by her son) that Melancholia is actually getting bigger and circling back—as predicted by the obscure Internet article. She begins to panic. She frantically looks for her husband but eventually finds John dead in the black horse’s stable: having feared facing his family's disappointment, he poisoned himself. Claire, now realizing without a doubt that Melancholia's impending arrival is actually real, releases Abraham in order to support the story she told Justine that John has simply ridden into the village.

Claire calls the rest of her family together for a completely typical breakfast. Justine, appearing to have recovered somewhat, questions Claire's intentions. Suddenly, as a result of Melancholia's proximity to Earth, a hailstorm starts. A panicked Claire tries to escape the estate with her son, but the cars will not start, and the golf cart to which she resorts shuts down as she attempts to cross the same bridge that Justine had attempted earlier. Returning to the mansion, Claire tries to accept the inevitable. In a private conversation with Justine, Claire suggests that their last act be coming together on the terrace with wine and music. Justine brutally dismisses her idea.

Having noticed that Abraham is wandering around the estate without any sign of his father, Claire's son, Leo, is frightened. "Dad said there's nothing to do, nowhere to hide," Leo says, aware of Melancholia's closeness. He is reassured by Justine who says that they can be safe in a "magic cave", something she had promised to build several times throughout the film. Leo, Justine, and Claire sit on the manicured golf course in an unfinished tepee as the final storm begins. Leo believes in the magic cave and naively closes his eyes. Claire is terrified and cries profusely. Justine watches them both, and accepts her fate calmly and stoically. Melancholia fills the sky and the world comes to an end.

 
 
Lead actresses Kirsten Dunst and Charlotte Gainsbourg during the film's presentation at the 2011 Cannes Film Festival.
  • 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

Development

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.