Two sisters (Kirsten Dunst and Charlotte Gainsbourg) find their already strained relationship challenged as a mysterious new planet threatens to collide into the Earth.
With a back-story (almost) as singular as his films, Danish director Lars von Trier was one of the most exceptional filmmakers to burst onto the international film scene in the 1990s. Unapologetically confident in his artistry and an unabashed provocateur, von Trier could kick up a fuss about his behavior, but his stylistic brio, extreme narratives, and ability with actors prevented such films as Zentropa (1991), The Kingdom (1994), Breaking the Waves (1996), and Dancer in the Dark (2000) from being eclipsed by their creator. Even as he openly sought a larger audience by making films in English, von Trier’s success helped resurrect Scandinavian cinema’s international prominence; his intense fear of flying ensured he’d never “go Hollywood.”
Raised by his radical, nudist Communist parents in an unconventional environment where, as von Trier once put it, everything was permitted except “feelings, religion and enjoyment,” von Trier blossomed into a neurotic, left-wing, movie-loving… read more
It could had been a lot better: It had some good moments but for the most part it was boring. Kirsten Dunst gave a pretty good performance and you can really feel all the anxiety and depression she is going trough but I just never felt attached to her character or cared too much for her. Overall nicely acted but nor the plot or the characters managed to captivate me. An interesting premise but it didn´t do it for me.
Also: The best and worst of 2011, plus what’s in the works for 2012.
Moving Image Source’s “Moments of 2011,” Reverse Shot‘s top ten, the NYT’s awards season package and, of course, more.
Adrian Curry selects his favorite new movie posters of the year, from Boonmee to Bill.
Also: Best of 2011 from the San Francisco Bay Guardian, In Review Online and more. And 11-year-old Scorsese’s storyboards.
According to the Passiondex™, the real winner this year was made 20 years ago.
And more year-end lists from New York and the Guardian. Plus: Sony vs the New Yorker.
The delirious, tragic romance of woman’s anxiety is at the center of the new Lars von Trier.
A final pre-awards season roundup featuring Hoberman and Taubin, Freud and Jung.
Lars von Trier’s Melancholia leads with eight.
“Subtle, charming, sympathetic.” “Ridiculous, often quite boring.” “Stupendous, imaginative, weird, outlandish.” “Artistic elephantiasis.”
A look at the posters for the films in the main slate of this year’s New York Film Festival.
Updated through 5/23. The Jury of the 64th Cannes Film Festival, presided over by Robert De Niro, and further comprised of Martina Gusman
Films by Lars von Trier and Hong Sang-soo.
The end of the world will be beautiful, or so says the Polish poster for Lars von Trier’s Melancholia, quite fittingly on the eve of
Updated through 5/23. "It's the end of the world but also the start of something new for Lars von Trier, whose mind-blowing Melancholia offers
Trailer for Lars von Trier’s “Melancholia”
I actually enjoy understated film. Films where the beauty of cinematography sometimes even overshadows the plot. This has neither a notable plot nor any cinematography. Never have I felt so bored during… read review
Melancholia begins with a series of slow motion, ethereal scenes of an apocalypse enveloping the main characters. It is one of the most striking openings you’ll see in a cinema this year, or any other… read review
as far as films can go in capturing clinical depression, this film does it. more than antichrist, the internal workings and expressions of someone disturbed by MDD, the problems they cause, the gut… read review