Country: Denmark, Sweden
Genre: Drama, Sci-Fi
Director/Wrier: Lars von Trier
Cinematography: Manuel Alberto Claro
A night cinema experience is long overdue for me (21:15-23:30), although it is not even midnight yet, nothing should be acted like a storm in a teacup.
The first thing I must declare is that hand-held camera really frets me over during this film, I may be able to enjoy it on a home-setting DVD environment (BREAKING THE WAVES 1996), but on the big screen of a multiplex, it was disturbingly wobbly for me especially the wedding banquet sequences in the first part called Justine. So in spite of its stupefying slow-motion prologue, several quite visually awesome shots (static, of course), and Charlotte Gainsburg and Kirsten Dunst’s subtle while fabulous acting (btw, I put Charlotte over Kirsten, all other supporting characters are barely cameos omitting Kiefer Sutherland, a sullen wallflower), I only give a 6 out 10 in my rating.
Then after two days of rumination (a spontaneous reaction and I have no reason to explain why), what strikes me is the film has evolved into a slow burn and been growing on me, and due to the fact that I possess a predilection for pessimism, I just sense a more interlacing allusion of the film (with my personal life), which effectively showcases an unaware self-assurance in me, doomsdays may or may not come, the hegemony of one’s own substantiality somehow is always reined by one’s own willpower (although the nude scene of Justine basking under the Melancholia-light is just a metaphorically trite stunt, even Lars cannot resist to lay out some eye-candies to meet his audience’s eyes). Nevertheless now I rate this film a sturdy 8 out of 10.
PS: Today’s headline is MELANCHOLIA is winning big at this year’s European Film Award (3 awards including BEST FEATURE FILM over the red-hot THE ARTIST, link here), so what can I say? controversy is never outmoded, it could be arguably the best film of the year (if no one ever memorize the persona-non-grata upset in Cannes earlier this year).