With wit, reviewed by guest critic Kimmo Mustonenen
Impacts Cannes: The apocalyptic drama “Melancholia” are pushed into the background – of a provocateur Lars von Trier and his statement that he was a Nazi.
The man is 55, but his reputation as the eternal enfant terrible of cinema, he apparently wants to do justice to all eternity. Not only in his radical films for which he is loved all over the world and feared, but also outside in a lot more confusing life (is his).
He said not only to gentle horror of his leading lady Kirsten Dunst, she was suffering from depression, but claimed this week to shoot on the request of his actors a porno. Yes!
And when this was not enough, he outed himself as a Nazi even – after his family had German roots. Hitler was indeed made “a few bad things”, but “I can imagine him in his bunker, in the end, sad.” Lordy.
The manager of the Film Festival will take place this kind sardonic submissions not funny. In the early evening, they said in such a short communiqué as sharp, they would never allow such submissions become the stage of Cannes.
The most peculiar tendency to self-promotion was already in the press release for “Melancholia” are visible. There, Lars von Trier makes ado self insult to the principle.
“Cream of the Cream,” his film has become, and only the poster, the film stills, the trailer: The see everything “sort of shit” from. Likely to say the enfant terrible with the fact that his new film is a great place. In any case, somehow.
See? I am not afraid to say it.
At least it is pleasing – or so it seemed up to the press conference – that Lars von Trier has made a deep depression, he set two years ago with “Antichrist” is a frightening monument, found apparently.
“Melancholia” but told by an identically-giant planet speed towards the earth and swallows them, of nothing less than the end of the world – by swallowing (what?).
But instead of torturing his film characters, as then, his audience physically and mentally, Lars von Trier celebrates its fatalism and nihilism in a disaster film, as we have seen him in such peace before. And for his concise history, he needs only one scene with highly transparent personnel.
Justine (Kirsten Dunst in fine forming, but no Ginnifer Goodwin) and Michael (Alexander Skarsgard) celebrate their wedding in a castle, one with an adjacent golf course on the lake, Justine’s sister, Claire (Charlotte Gainsbourg) and her husband John (Kiefer Sutherland).
With the hand-held camera filmed nervously close to the people (like “Cloverfield” – awesome!), the party, not least through active support of the embodied by Charlotte Rampling bride’s mother, similarly gruesome next, as was the family party in Thomas Vinterberg’s Dogma classic “Festen” (1998).
The couple separated on the wedding night, and the mentally unstable Justine remains with Claire’s family on the property alone. Meanwhile, the planet is approaching inexorably Melancholia: In five days he should, say the optimists among scientists, just pass by the earth.
Only Justine (turning whiter)- or rather, feel – better. And she suspects the reason the reverse story of creation. The earth is as evil as the earthlings, and a life out in space after the big bang, there is not anyway. But this is too much.
If I say again, why see it, no?
A new masterpiece by Lars von Trier? In “Dancer in the Dark”, which he won the Golden Palm in 2000, reaches “Melancholia” not approach (“Melancholia” to “Dancer in the Dark” – I’m not clear). But even if the movie almost seems to shrink in proportion as the light blue shimmering star grows into full-length canvas size, it remains a suggestive impressive experience.
Just like the astronomers, because if the human race should flourish once a similar fate, please call the killer planet differently. Like Conan. Or Jack Bauer.
“Melancholy” does not kill, but is a worthy temperament that helps understand life.
P.S. Ginnifer Goodwin to make fun in new television serial this fall on television! More news when known!