In Aristotle's "Poetics", catharsis is experienced either by the characters of a drama or by the viewers at the end of a tragedy. I would not think to look for this definition. I wondered why I did not analyze the director's approach and caught myself trying to answer the question that Justin (Kirsten Dunst) asked "Does anyone mourn the world if he disappears?" So, I was co-staring, he had caught me ... The director with his Melancholia . Some analysts around the world, famous and not so critics, praise the beginning of another Lars von Trier brand experiment. I do not deny the visual beauty of the footage (Manuel Alberto Claro), and Wagner's full of energy and feelings, but these opening minutes were able to refuse me to meet this movie. I was sure I had to overcome this test because I also like the "Breaking the Waves" and "Idiots," and "Dogville", and "Dancer in the Dark," enough to be curious about what this disobedient, crazy, "dogmatic" Danish. One more reason to squeeze my teeth in the form of the slow ones and almost static, almost natural paintings was my stubbornness to saw how Dunst had managed to challenge Trier.
I usually have no confidence in the actor's awards, mostly because of the subjectivity of each jury (in Cannes - "best actress"), and although she shows skills in "All Good Things" (2010), "Maria Antoaneta" (2006) and Wimbledon (2004), Kirsten is not among the ladies I love to watch. More in the screenplay of Charlotte Gainsbourg as her sister Claire. The team is complemented by Kiefer Sutherland (Claire's husband), Stelan and Alexander Skarsgård, Charlotte Rampling (a unique image of the two sisters mother-bitch), John Hurt, Udo Kir. They all flutter in the first part of Melancholia when we meet their heroes at Justin's and Michael's wedding celebrations, organized by Claire and her husband, John, in an impressive mansion. While with skillful, unobtrusive strokes, Lars von Trier portrays each of his characters, he adds to his painting more and more details - as important accents in the atmosphere. And when the porcelain smile begins to disappear from the face of the bride, I said with relief, "It's time for me!" I knew she would not stand long among the conventions and rules of the so-called "society," stuttering and engraving the path she did not wants to step. Was the spirit of denial, so powerful and vicious in her mighty mother, able to shed the sprouts of paternal love, and gave birth to the indifferent indifference that Justin perceived the world? Actually - what does it matter? That is, does it matter what the cause of deep apathy is when it can not be eradicated?
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The appearance is not too late for Melancholia. The mysterious planet, which has long been behind the sun, and has suddenly set off for a fateful encounter with the Earth, rises on the wedding night - at a remarkable distance from the Moon, which illuminates the stellar sky in sync. A blue light that resonates with the cold in sight and soul (her eyes are her mirror?) By Justin ... The second part of the film is dedicated to her - the coldness of the human ego, focused on all the petty, everyday and annoying details. As Claire remembers, this chapter of his narrative, Lars von Trier, entrusted the nurse, who, with love and patience, tries to revive Justin's joyous feeling. How does this happen after the wedding-fiasco and under the ugros of an irreversible and final Earth cataclysm ?! Only the little Leo approached with careful attention and understanding of the aunts of his aunt and accepted unreservedly the assurances of his father that the Earth would melt away with Melancholia . Claire's fears about the fate of her loved ones are on track with Justin's awakened painful sensitivity. The two actresses are complemented by two halves of apples, ripe on different trees, gathered in different sun rays, and performing one task - to serve Lars von Trier. The director's gaze is constantly changing its focus - on characters and sensations, moods and facts - and that reminded me of that quest to turn out and be on the top but with a non-biased and passionate attitude that holds every soul looking for something Truth. Are we all mad, people, when we believe that our existence in the universe is infinitely important? How far does our insanity that insists that our own care necessarily constructs the mosaic of the most urgent problems of the world? Why is it important to assume that the cataclysm causing the end of our familiar world is logical, normal and even just? In Melancholia , a special ecological hue materializes-the foolish humanity is sufficiently self-loving and arrogant to deserve a final of its existence. But how wrong are you, von Trier - it's just not true! I do not want to serve other generalizations - every spectator will find his own look at the latest experiment of one of the most commented contemporary directors. One thing I'm sure: People who appreciate Cinema will surely watch "Melancholia " simply because ... you have to! And this text can hardly be called a "review", because it has neither the structure nor the details needed - it remains the only assessment. Well, if you did not understand - the movie has been among my favorites for the past few years! Did not I say that this movie is "obligatory" ?! In anticipation of appearing in one of the filmmakers that are ahead, you can "refresh" your memories of Trier's previous works. It is fun - and to a great extent enlightening ...
