Lars Von Trier’s examination of the apocalypse is a truly divine and ethereal cinematic experience that not only dares to explore the lasting effects of the end of the world, but also dwells on two states of mind concerning the end of the world. Like “On the Beach,” Von Trier examines the world putting on a show for itself in the wake of the apocalypse. In this version of the end of the world, Earth is destined to clash with an unknown planet from behind the sun. After centuries hidden, the planet tagged Melancholia by Earth’s denizens, has finally reached Earth’s orbit and is destined to smash in to our planet as the days progress.
As with most of the apocalyptic fiction since the millennium began, the focus isn’t so much about the cause of the end, but the meaning behind the cause of the end. “Melancholia” begins on a stunning prologue that explores the separation of the psyches of our main protagonist and the end of the world that is rather breathtaking and absolutely amazing. With all interstellar events, the passing of Melancholia should be an amazing and awe inspiring sight, but the inevitable clashing in to our planet has turned this momentous occasion in to a dire event that threatens to destroy most of Earth’s population. Split in to two parts, Von Trier spends one half of the story of “Melancholia” on a wedding party and rather than focusing clearly on the planet he instead zeroes in on the roles played by a family of aristocrats who are positing themselves to celebrate what should be a doomed occasion.
Channeling “On the Beach,” Von Trier spends much of the film on people looking at the end, who are trying to get their last words and last goodbyes in before the event rears its head. This is spent on young Justine (as played by Dunst) who has been seemingly adopted by a rich family, all of whom are desperately trying to fuel a wedding between her and her husband to be Michael. But Julia is of course forced to confront many issues as the day lingers on. One of which being the notion of marriage and whether she wants to marry because she’s in love, or because the world may soon be at an end. The individuals in this scenario never really discuss Melancholia, but there is a clear undertone of horror and desperation among their faces as they stumble in to one another and desperately cling to their old world habits in the face of this changing scope.
The focus of the party is to indicate the sense of desperation and fear present underneath the smiles and laughs. And what begins as a party of sheer last resort, soon becomes an occasion to expel the demons. Justine especially takes it upon herself to not only come to grips with her fears and decisions, but with the people around her, most of whom are forgettable and despicable beings. The second half of “Melancholia” is a requiem for the planet, an age old parting for the world as we know it as seen through Claire’s eyes. Claire is forced with the weight of the news that Melancholia is doomed to crash in to Earth and clings to hope, however small it may be.
This of course coincides with Julia’s ability to not only foresee the end, but meet it head on with a welcoming posture that intimidates and confounds sister Claire. “Melancholia” is a film that meets the end of the world with a disturbing beauty that averts any tragedy and doom and instead views the finale of mankind as something of a sweet release. It’s a time where we can relinquish ourselves of our misery and finally see how it comes to a close, and Von Trier is the right man to deliver such a elegy. Leave it to Lars Von Trier to lament the end of the world as something of a sweet soulful release rather than a horrific event that snuffs out existence as we know it. With passionate performances, and amazing special effects, “Melancholia” is a divine piece of post-apocalyptic cinema.