Her’s my write-up of Lars’ new movie Melancholia at Yourkloset. Within this movie I can see Lars’ earlier work, like the wedding in Breaking the Waves, the mob mentality in Dogville and the depression in Antichrist. It operates like a contest – whoever has the most complex and human approach to depression wins. There’s Justine (Kirsten Dunst), a disastrous bride and a vessel of depression who somehow marvels and is relieved that a planet, also called Melancholia, dangerously approaches to evaporate the Earth. She’s the one most of my friends can relate to either because of personal reason. Or because of Dunst, arguably giving her best performance within a career unfolding just as me and my friends were growing up. There’s also her brother-in-law John (Kiefer Sutherland), the most blindly optimistic character who steadfastly holds on to a rational belief system.
Justine is sympathetic enough but I wouldn’t pick her or John as someone I can relate to. That honour belongs to Justine’s sister Claire (Charlotte Gainsbourg). She’s the one who’s probably read all the books about psychological health and help and thinks that she’s sent on this earth to help her sister even if the latter doesn’t want to be helped. The one worried with real problems, the maternal instinct to both coddle and abscond her sister when she thinks she needs to do so.
She’s also the false image of normalcy that I assume many people with depression learn to act out, that layer vulnerable to anxieties outside and underneath. So which character here do you relate to the most?
Showing up to screenings two hours before the movie starts, I headed off to the rush line at the Ryerson Theatre. An hour later an older man sells a pair of tickets to whoever wants to see Antichrist. I raised my hand a second later than someone behind me, who happens to be a French woman who is also pregnant. Dammit. I’m pretty sure this woman lives a twelve-hour drive from Cannes Why didn’t she just see it there?
Half an hour later, she comes back and says “Mai hazzbahnd won’t cam zee eet.” Obviously. Why the fuck do you? Or me? “I want feeftee dallarz for zeez teekehts.” (I am so racist). Fine.
I join the ticket holders’ line and find kids from my university, the ones who make fun of the slightly special needs kid in the film studies department or talk about how Amanda Seyfried was ‘The most BEAUTIFUL woman I’ve EVER seen…” because that’s what sexy hipsters talk about. We eventually headed to the doors where the most beautiful hipster tells some security guard “This film will win People’s Choice.”
It was one of the most fucked up movie I have ever seen.
Later, the most beautiful one tells us that she gave the movie a 3. “He’s a master master master master master master but…” I can’t remember what she said but it’s something like how gruelling he is.” I tell them that I bought my ticket off a pregnant woman. ‘You saved a pregnant woman and her child.” Imagine someone giving birth while watching that movie.
I have no idea how notorious that screening was compared to others. Watching it at Cannes might have been an experience. There’s another fest somewhere in middle America where the audience chanted “CHAos REIGNS!” Apparently someone vomited during the Toronto première but I was probably drowned by my own reactions to hear someone retch.
Days later, in other screenings, I meet industry guys before the Micmacs where the cuter business guy kept saying “That scene where she hammered his BALLS and I’d cross my legs every time he said ‘balls.’
I have new goals during the festival while writing for myself and others – next year’s choices will be actress-y because of Nathaniel. But because of that first movie during that first real TIFF, one of my goals is to see the grossest movie ever. Last year’s is Black Swan and LA Zombie. This year’s is Lovely Molly. Swear I’ll do the best I can to catch the Midnight Madnesses.
- Grizzly Review: Melancholia (grizzlybomb.com)
Bess McNeill (Emily Watson) petitions to an all-male Christian council to be married to an outsider, Jan Nyman (Stellan Skarsgard). She tells them that the outsiders are good because of their music, her eyes telling the camera that she isn’t talking about music at all. It’s already been established that her community’s very patriarchal, that even in the beginning, a beloved member of a community and her family will be addressed with the words ‘Hold your tongue, woman.’ Or that women in her community are not allowed to discuss questions during church like men. Or that this society relegates women to waiting for their men for long periods of time as they go to work on the rigs. These first scenes already denote the film’s themes – a young woman’s blossoming sexuality clashing with patriarchal suffocation. In no way do these scenes prepare us for the film’s second half, putting Bess in an emotional roller coaster on earth previously unimaginable.
Women are forbidden to go to funerals. Antony Dod Mantle (not pictured, not that I know) will rise again to win an Oscar.
Bess has put a heart on November 26 on her calendar, marking Jan’s scheduled return. She lets out a childlike outburst when she finds out that her sister Dodo has ripped and hidden the calendar. She wrestles with God (Watson in a deeper voice, don’t ask) for her husband to return ten days before he’s supposed to come. God tells her that she’s changed but nonetheless grants her wish. I watched the movie on November 27, thirty something years and a day after Jan’s supposed to come back.
I’ve had at least a week to think about the film’s ending. Sure she didn’t plan for her husband’s debilitating injury. Nonetheless, Bess got the best possible escape to her situation. I wish I can have someone to politely argue against this film with me. I’m usually good to subscribe to feminist, politically correct readings that speak out against auteur’s misogyny. Yes, showing a woman being oppressed isn’t enough to be the equivalent of a statement that women shouldn’t be oppressed, as many aueturs and apologist critics and film writers have lazily tried to argue. von Trier, from the only other movie I’ve seen of his, gives his women 150 seconds of victory to erase 150 minutes of degradation. It’s up to you the audience to buy that, which I do. Yes, change is the only way to combat a patriarchal society. Yes, Bess is still dead. However, it’s not as if Bess can move to New York City and burn her bra. Yet her sacrifices ensured her husband’s convalescence who in turn can defend her right for a proper burial. Dodo eviscerating the men at Bess’ funeral seems satisfying. Lastly, von Trier successfully makes his audience believe that Bess did go to heaven. I know I should have a problem with the material, but I don’t.
- Take Three: Emily Watson (filmexperience.blogspot.com)
Ruth from FlixChatter responded to being tagged to do a 15 Directors Meme post she did two-ish weeks ago, and I did some proud begging for her to tag me because I like talking about my favourite directors. Or I think I did – it was hard going past 12. I changed the list compared to my pre-list on her comments section. And it took me a while to respond.
What I look for in a director’s work is beautiful cinematography, theatre-like scripts or energy, decent representation of strong female characters. Lastly, a sense of humour, preferably dark, like coffee I would only drink if I was lazy. List.
- Stanley Kubrick (Full Metal Jacket)
- Charles Laughton (The Night of the Hunter)
- Christopher Nolan (Inception)
- Quentin Tarantino (Kill Bill Vol. II)
- Woody Allen (Sleeper, Another Woman)
- Terrence Malick (The Thin Red Line ’98)
- Elia Kazan (East of Eden)
- Mike Nichols (The Graduate)
- Michael Haneke (Code Inconnu)
- Jane Campion (Bright Star)
- George Cukor (A Star is Born ’54)
- Alfonso Cuaron (Y Tu Mama Tambien)
- Sidney Lumet (Serpico)
- Lars von Trier (Dogville)
- Fritz Laing (Fury)
And now I have to tag ETA: six bloggers who have lives.
Jose, who talks about classics with wicked witches and fugly whores.
Simon, who reminds us that David Bowie played Andy Warhol in a movie.
Andy, who’s going to see Ellen Ripley cut a bitch.
Nick and Nathaniel. One’s very chipper and the other’s a quipper. Both are getting me really excited for the Oscars.
Farran, who reminded me that my birthday was also Constance Bennett Day.