Melancholia

It is infuriating how much Lars von Trier let's his ego and big mouth ruin many of his films. Sure the whole Cannes debacle surrounding this film might have been surprising, but it wasn't shocking. From von Trier, it is almost to be expected. As a result of episodes like this, I find it even harder to like his already difficult films; almost as if I don't want to like them. The man shows nothing but contempt for his audience, so why should I show nothing but contempt for him? Von Trier's last film Antichrist, was horrific for all the wrong reasons. Very unpleasant and shocking only for the sense that he put those unspeakable things on screen merely to provoke than for any true artistic statement. However he has proven himself to be capable of memorable works before, as I'm sure he will be again. It's just that I wish his gobby mouth wouldn't make me question the validity of his work; is he a clueless sap, who occasionally lucks out by working with talented people, or is he a true revolutionary genius in cinema? I've not made up my mind and in truth I probably never will. His films will continue to provoke outrage and debate. One thing is for sure; they will always be memorable. Here he finds himself working within the loose realm of science fiction. Not that true science bears any effect on the storyline, von Trier decides rather to have it metaphorically inform the picture and instead focus on the social embarrassment and human melodrama that he specialises so well in. Here that metaphor as macguffin is the rather enormous rogue planet of Melancholia, that threatens to engulf planet Earth any day now. Of course, it is almost half way in until anyone even mentions this; von Trier instead opens on a (disastrous) wedding in part 1 and introduces our two sister characters, along with a range of entertaining supporting characters. The melancholia here is Dunst's Justine; struggling with depression and destined to forever push away those she loves. Symbolism is rife and when the destructive planet rears it's head in part 2, it is merely an extension of Justine's psyche made physical. There is nowhere to run, nowhere to hide, melancholia will eventually engulf all. Von Trier is about as suble as a hammer to the head, but to his credit, he explores Justine's mental state very well. Dunst is stunning and in the more showy of the two roles (Charlotte Gainsbourg thankfully is stretched no where near her Antichrist limits) she handles it beautifully, eliciting both emotion and understanding from the audience, even when she does some pretty unforgivable things. As Gainsbourg takes center stage in part 2, we instead focus on the isolated estate as the impending doom draws ever closer and the stakes are ratcheted up. We are in fairly straightforward von Trier territory here and there is nothing as polarising as some of his previous features have been. While events are still pretentious (it's a Lars von Trier film!) it is somehow relevant to the gloomy goings on in both the film and planet. Apart from a quite beautifully shot and surreal opening, the man shies away from anything too ostentatious and instead let's the films themes do the talking. It is certainly dour throughout; (in a film called Melancholia how could it not be?!) but thankfully there are a few moments of understated humour highlighting the innate ridiculousness of it all. At the end of the day the film is absolutely stunning to look at and features fantastic acting from all involved. It's just that the inherent kitschiness of it all engulfs proceedings at times. What is certain is that after watching the beauty of Melancholia, it won't be forgotten in a hurry.

Verdict: 7/10
Handsomely shot with a stunning performance from Dunst. Von Trier courts controversy wherever he goes but where he not so prone to incomprehensible ego-laden outbursts, his films would have a better chance of standing up for themselves. Anyone who hated the man before should stay well away, but for others this is an original and very memorable dissection of depression. God certainly loves a Trier.

"Melancholia" Trailer

Enter The Void

Here's one for you: a film that is painfully long and never ending, self-indulgant and at times pointlessly gratuitous and seedy. Now imagine, said film while exhibiting these negative traits and more, is also one of the most visually dazzling and unforgettable films you may ever see. That is the conflicting mind warp of "Enter The Void", Gaspar Noé's third feature length film and his first in almost eight years. For the uninitiated, Noé made headlines in 2002 with his second feature and breakthrough film "Irréversible". One of the most polarizing and undoubtedly shocking and controversial films of all time, it was also noted for its daring linear trajection and stunning technical prowess. For some it was one of the masterpieces of the decade, and for others it was one of the most horrific cinematic experiences of their life, including me. A film that thrived on ugliness and shock tactics, it seemed to me that Noé made the film, with the intention of not actually wanting his audience to like it. Of course it didn't help that its two most infamous scenes offered extreme sexual violence and horrifically real gore. I found the film to be near unwatchable, significant only for its technical achievements. Odd then, that Noé, didn't seem to learn anything from that experience, and now presents us with "Enter The Void", a film that is also, in my eyes at least near unwatchable, however, not for the same extreme reasons its predecessor was.

Noé presents his film in certain ways we have not ever experienced before in cinema. It is a truly visually dazzling trip. We open the film experiencing everything from Oscar's (Nathaniel Brown) point of view. The audience is effectively him, we even see his blinks. However a drug deal goes horribly wrong, and Oscar is murdered. Except then the film shifts its perspective as we then become Oscars spirit hovering high above the streets of Tokyo, or delve into his strange past in a third person view, effectively looking over his shoulder and always presented with the back of his head. As a spirit he visits those closest to him as they cope with his passing, namely his sister Linda (Paz de la Huerta) of which he seems to share an unhealthy relationship with. From a young age the two promised to never leave each other after their parents were killed in a very traumatising (and frequently revisited) car accident. And that's it. For a film so very long and slow moving, this is all the plot we're left with. The film is interspersed with pointless scenes of a sexual nature (Noé has always been obsessed with sex) and very frequent shots into intense visions of bright colours and strobe lighting. Each time Noé repeats this, it becomes ever more tiresome and less effective. The whole trip seems to be in actuality, a huge ego trip for the director himself. It doesn't respect characters or plot and is only ever concerned with its visual aura and dreamy textures. Thank God he shied away from the extreme violence of his previous cinematic efforts as this here seems to be Noé attempting to mature. He attempts to ask profound questions on life and death but gets bogged down in his psychedelic and very far out images and hallucinogenic dreamscapes. The result comes off as pretentious in the extreme. Just because he himself once may have had a profound drug trip, does necessarily mean audiences wish to accompany him along on one, especially one as hollow as presented here.

The acting from all involved is dreadful. de la Huerta offers a brief scene of genuine intensity and truthfulness towards the end, but it is too late in the game. It seems she was chosen for the fact that she would not mind the copious times her character spends in undress, rather than her true acting ability. As the lead character, Brown registers remarkably little interest or memorability on the audiences part. So he once saw his parents have sex, but does that really explain his predilection for his sister and older women? Noé doesn't seem to care to get into any of the characters heads or mindsets, rather more so, chucking more colours and strobe lights at the audience. It doesn't help that all the action is shot from perspectives that prevent you from actually truly seeing any of the actors faces, and crucially their eyes. It holds little emotional significance for the audience looking at the back of everyones head, or gazing straight down on the action from above.

Which brings me to the one thing the film has going for it. Its visual style. It really is, one of the most awe inspiring technical achievements I have ever seen in film. Every single shot is punctuated by a 'how did they do that?' so effective is its photo real CG effects. Noé moves his camera in ways never seen or thought to be impossible before and does it effortlessly and with great craftsmanship. It's sound design and music (created with help by one half of Daft Punk, Thomas Bangalter) add to its conviction. Its colours and vibrant lighting is a visual tour de force unlike anything seen before. Unfortunately it is nowhere near enough to sustain interest in a film so pretentious and dreary. It screams with desires to be taken seriously and to provoke genuine spiritual response. It is too in love with itself and believes that because of its technical achievements and emotional and heavy handed undercurrents, you should too, without actually working to gain your interest or giving you anything to invest in. If a never ending 2 and a half hour drug trip, punctuated by ugly characters and bad acting is your thing, then by all means, check it out. Mainstream audiences steer clear and everyone else who is curious, check out the trailer and leave it at that. It really is not worth much more of your time.

Verdict: 35%

As far as basking your eyes in vivid images and colours, mixed with some the most seamless and stunning special effects and camera tricks you might ever see, it is dazzling. But as a truly transcendent theatrical experience it fails miserably, failing in almost every other department. For a film so up itself, it really offers next to nothing to hold your interest in its unmercifully long running time. Noé is an auteur and has created some of the most unforgettable films of all time, but until he grasps how important the warmth of basic humanity is in cinema, he will never make a truly great one.

"Enter The Void" Trailer