The thing is that I'm not one of those people who, when he sees something he recognises or sympathises with on the screen, that I'm happy to just settle for that. Especially when said wedding then goes predictably pear-shaped thanks to a disapproving mother amongst other things.Īs someone who has gone through a depressive episode, it did resonate with me, especially when it comes to the up-and-down relationships you can end up having with people in a very short space of time. It just doesn't make for very interesting watching. He makes that point technically well, for sure. I appreciate that von Trier is trying to make a film about the effects of a depressive episode and the point he makes about the pressure that a wedding can have on a person suffering from such an episode. Because nothing in Melancholia happens in a hurry. Plodding, meandering and stultifyingly dull, Melancholia is a film that takes a plot device that I normally love, that of an impending apocalypse, and turns it into the type of film that I'd put on if I wanted to get rid of someone from my house. So I guess I have something to thank him for. To be honest, his body of work has never really particularly intrigued me enough to want to investigate it in any great detail although his Dogme 95 idea formed a background to Festen, which I absolutely adore. And we all know what you can't do with one of those.Īdmittedly, my experiences of von Trier are minimal - a viewing of The Idiots, which was pretty good, is all I can count on that front. I think I'm right in remembering in amongst all the publicity that was knocking around for Melancholia when it was released that Lars von Trier apologised for making too polished a film or something like that? No apology necessary, Lars.
I hope they raked that bunker back over afterwards.
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