Starring Kirsten Dunst, Alexander Skarsgård, Charlotte Gainsbourg, Kiefer Sutherland, and John Hurt
Directed by Lars von Trier
On Justine (Dunst) and Michael’s (Skarsgård) wedding day, everything is seemingly perfect. However, as the pressures of the night heighten, Justine’s true colors begin to show. She confides in her sister Claire (Gainsbourg), explaining her struggle with depression. She becomes incapable of hiding her misery, and the night is ruined. In the film’s second part, Justine’s condition has worsened. Claire tries to help her sister, but she too is suffering in her own way. Though her scientist husband, John (Sutherland), claims the fly-by rogue planet Melancholia won’t collide with Earth, Claire lives in fear.
We see how Justine plunges deeper and deeper into mental illness. Initially, she appears fine. As the limousine struggles around tight bends taking Justine and Michael to their reception, she exhibits a light, giggly personality. She has no apparent cares and externalizes only positive feelings. However, as her friends and family put pressure on her throughout the night, Justine reveals her happiness is all a front, and she’s really drowning in her own sadness. As people confront or trouble her, she snaps back or retreats, revealing she is no longer capable of pretending. As her wedding night progresses, Justine goes from a gleeful bride to a miserable woman only able to cry, sleep, and withdraw herself from responsibilities. In the film’s second part, Justine’s state has visibly worsened. She exhibits catatonia, prohibiting her from speaking, moving around, or even bathing. Justine no longer finds pleasure in what once brought her comfort in tough times. Abraham, Justine’s favorite horse, no longer listens to her command, and she beats him mercilessly in frustration. When Claire makes her sister her childhood favorite meal, Justine sobs, claiming it tastes like ashes. She then becomes self-sufficient, but grows cruel and bitter. The viewer is taken along a psychological journey, illustrating the volatility of mental illness.
Von Trier (dir) uses the rogue planet of Melancholia as a physical manifestation for Justine’s mental illness. The name Melancholia clearly draws reference to melancholy, the feeling of depression. The planet is always looming over, constantly coming closer, just like Justine’s inescapable sadness. People generally ignore the danger of Melancholia, recognizing only its scientific interest, thus disregarding its deathly consequences. Fear of the planet is looked down on, and Claire is forced to secretly search the internet to find information. This alludes to the trivialization of mental illness. When Melancholia enters the atmosphere, the air is affected, causing Claire to hyperventilate as though she were having an anxiety attack. The sisters are told the planet will fly by, leaving them unscathed, but they know better. Melancholia turns back around, destroying the entire world. I find using a physical manifestation as a metaphor for illness to be an interesting technique, as also seen in the 2014 horror film The Babadook.
Justine tells her sister that she isn’t bothered by the impending apocalypse, since human life is inherently evil. While Claire is disturbed by these remarks, the film supports her sister’s notions. It seems that every character is overwhelmingly flawed. Their father (Hurt) is selfish and hedonistic, abandoning his distressed daughter at her own wedding to pursue women. Their mother is merciless and rude, interrupting wedding speech to share her lack of faith in Justine and Michael’s future. John is self-interested and inconsiderate, constantly ridiculing and guilting Justine for her illness. Justine’s boss, Jack, is cruel and relentless, putting extreme pressure on Justine to work even at her own wedding. Even Claire and Justine, who undeniably care deeply for one another, often tear each other down. Justine’s proclamation that people are evil, is met with overwhelming support by Von Trier.
I was generally impressed by Melancholia. Von Trier never takes the expected route, and this movie, the second installment of his “Depression Trilogy,” is no exception. The visuals, storyline, and character development all proved strong for me. However, as with any “out there” artist, Von Trier is an acquired taste, and I recognize not everybody will be a fan.
