"Melancholia" (2011) is the second film of Danish director Lars von Trier's "Depression Trilogy". The movie focuses on the life of two sisters. The first part of the movie emphasize on Justin and her wedding. The second is for Claire's collision with her sister's nihilistic stance, that everything is pointless and that life on earth is evil, which eventually it will soon disappear due to the upcoming apocalypse. Trier overturns the Hollywood cliche for the so-called disaster film, exposing the end of the world in a deliberate chamber atmosphere deprived of the colossal scenes of destruction and death, emphasizing instead the internal reactions of a handful of heroes and the "insights" that reach the significance of human life.
Melancholia continues to impose the ideas of the trilogy, bringing them to merciless extremes, depriving (through the apocalypse) of the personality from a space where they are more enduringly confronted with and defrauding) the "damned questions" that she is problematic about. The movie clearly shows "the scars of the last times", such as the fear and nihilism that a nature born only to die can cause to any sensitive person who has realized its character and cruel laws. In Antichrist, the space in which this problem (forest) is considered covers only the microcosm of a pair, whereas here we see Trier as maximizing scale to show that futility and doom is universal axioms that are clearly discernible to pain and crystal clear when faced with the destruction of all mankind. Thus, the director devalues any "hope and comfort" that can help the modern secular man collide with the idea of his end - he will leave nothing behind and no one will remember it. Even the ideal of a society moving steadily and relentlessly towards a brighter future dissolves without a remnant in the encounter with death. In fact, Trier is also concerned with the subject of science and its inability to grasp the human being, emphasizing the weakness of the rational faced with something as meaningless and elemental as the ultimate reality of the smoldering being. In "Antichrist" He (the image of William Defoe) tries to use some extremely comfortable and logical psychotherapeutic models to cure his wife from her guilt and the all-consuming nihilism. He can not understand that she has already realized that life and nature "pull" the existential invariably only in the direction of death. After all his attempts to "cure" her, he fail, and also become a victim of this world and its laws, as is the case with Claire's husband John, who last convinces her that Melancholia's calculations to hit the ground (shortly before the end of the tape, realizing that he is wrong, he kills himself).
In addition, Trier makes an obvious parallel between his depressive states (which have inspired these films and created a sense of total nihilism in his and his images) and the planet Melancholia, which will destroy mankind. The director creates the feeling that the end of the world will not explode in the form of a baroque meta-crash, and will gradually materialize in people's minds as some sinister revelation that life is in reality a matter of direction and purpose. In addition to science, just before the end of the movie, Trier shows how "magic" (a peculiar metaphor of faith and religion) is powerless against clashing with nihilism (Justin explains to Claire's son that they will make a special cave with a few sticks where they will safe when Melancholia strikes the Earth). So the message of the film leaves no open loopholes through which hope can sink - existence is reduced to a large gap in which there is no room for either the rational or the infatuation of a child. Trier is uncompromising - life is evil that will someday cease to exist. It opposes the natural order - its nothingness and its desire to dissolve everything in itself.
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 some 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 fair? 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 are sure to 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 was "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 ...
