Melancholia.

(:: History ::)

1)On the occasion of their marriage, Justine and Michael give a sumptuous reception in the home of the sister of Justine and of her brother-in-law. Meanwhile, the Planet Mélancholie, huge, goes up dangerously to the Earth threatening the humanity.
2)The film begins with an intro sequence, with a number of stylised images of the main characters as well as images from space. The end of the world is shown in the form of a collision between Earth and a larger planet. Melancholia is thereafter divided into two parts.
Date (s) of Exit (s):  August 10th, 2011 |   November 11th, 2011

Accomplished by:	Lars Von Trier
With:	Kirsten Dunst, Charlotte Gainsbourg, Kiefer Sutherland, Charlotte Rampling, John Hurt, Alexander Skarsgård, Stellan Skarsgård, Brady Corbet, Udo Kier...

Distributor:	The Films of the Rhomb
Type:	Drama, Fantastic, Science-invention,
Country:	Denmark
Length:	2 h 10
Original title:	Melancholia
Programmed in:	13 cinema in France

Official Site (s):
USA: http://www.melancholiafilm.com/
USA: http://www.facebook.com/melancholiafilm


Festivals, Evénements:
Canes 2011.
Toronto 2011.

(:: Trailer for Melancholia ::)

(:: Free Streaming to Watch Melancholia Online ::)

======>>>>>                                                                                                      <<<<<======

(:: Pictures Of Melancholia ::)

(:: Downloads Links ::)

DVD RIP, XVID, DIVx, AVI, TS:
http://www.wupload.com/file/2531533667/melancholia2011-dvdrip.xvid.avi
OR
http://www.wupload.com/file/2531355442/Melancholia.2011.PL.DVDRip.XviD-BiDA.avi


3gp, MP4, Cam:
FILESERVE
OR
BITSHARE

(:: Scenes of the movie ::)

Notes of intention of the film director:
It was as though I woke up after a dream: my producer showed me a proposal of poster. “It is what, this? ”I asked. “It is a film which you made! ”she answered. “I hope that not, ”I mumbled. Films announcement of photos were shown me this has crappy air. I am shaken.
I don't be wrong worked on this film during two years. With great pleasure. But I perhaps deluded myself. I was allowed to attract. It isn't because somebody makes an error on the contrary, everybody worked faithfully and with skill to hit the mark that myself had defined. But when my producer introduced me coldly facts, a shiver went through my spinal column.
It is the cream of the cream. A feminine film! I feel ready to reject this film as an organ transplanted by accident. But I wanted what exactly? I had a feeling as starting point, my desire to plunge the head the first one into the abyss of the German Romanticism. From Wagner by tons. I know at least to this. But isn't it just a means to express its defeat? Defeat facing the film lowest common denominator? Love song is manhandled of thousand dreadfully annoying ways in the popular products.
And then I must suppose that I had a happy loving relation with the romantic cinema to name obviousness: Visconti! The German Romanticism which leaves you pantelant. But at Visconti, there is something always to raise subject above triviality to raise it at the level of the masterpiece! I am flustered now, I feel guilty. What did I make? Is it, ‘exit Sort out’? I hold on tightly to the hope that there would be perhaps in all this cream a brightness of bone likely to break a fragile tooth me to close eyes and I hope!
Lars von Trier, Copenhagen, April 13, on 2011.

Desire of the end of everything - Maintenance with Lars Von Trier:
The journalist Nile Thorsen, author of Genius – life, films and phobias of Lars von Trier, discussed in March with Lars von Trier, while this one put the last key in Melancholia.
So much say it right away: at the end of the film of Lars von Trier, Melancholia, everybody dies. Not only the guests of the big marriage which takes place in the first one left film, but also life on Earth. In the world which recalls the Danish film director, we are absolutely alone in the world, and what ends during the collision of our planet with Melancholia, it is the life as such. As points it out Lars von Trier with his typical black humour: «In a sense, the film has the happy end.»

The germ of Melancholia:
We follow two sisters up to the last end. Justine the melancholic, interpreted by Kirsten Dunst, who finds it difficult to find her place in the world and feels comfortable only when this one approaches the end, while his big sister, Clear, interpreted by Charlotte Gainsbourg, is very well on the Earth and finds it difficult to say goodbye to him. «Justine is very close to me, to my experiments with the prophecies of end of the world and depression, while Clear is supposed to be a normal person», says Lars von Trier in a roar of laughter. «My analyst said to me that in catastrophic situations, the melancholics kept the head more on the shoulders than ordinary people, partly because they can say: ’What I had said to you?’ But also because they have nothing to lose.» That's right the germ of Melancholia. From there, things accelerated. Less than a year afterwards, script was written, the chosen actors, and the team in filming. C’est ça le germe de Melancholia. À partir de là, les choses se sont accélérées. Moins d’un an après, le script était écrit, les acteurs choisis, et l’équipe en tournage.

On the verge of plastic:
«I passed by nasty instant hanging Antisculpted Christ» he says. «I more had a good time making this film, I was much more present. »In Melancholia, he is confronted with melancholy, more than with cataclysms. Although impulse comes from its depression, idea took shape in the course of a dialogue and an exchange of letters with the actress Penelope Cruz, who wanted to make a film with him. She spoke to her about her fascination for the room of the French dramatist Jean Genet, The Good, in which good two kill their patroness. «I never make anything that is worked out by me, I said to him. I therefore tried to write something for her. In fact, the film draws inspiration from both good, that I transformed into sisters. Penelope can ride a horse, I also used this.» Title has a direct report with its depression. But it is thanks to a documentary that it discovered that the planet of melancholy was Saturn, then it fell on a page web which spoke about cosmic collisions. Melancholia starts as Antisculpted Christ with an opening. In a succession of sequences and of photos on a music of Wagner (Tristan's opening and Iseult), we discover Justine's marvellous visions towards the end of the world, as well as dramatic pictures of cosmic collision. «I always liked idea of the opening, fact to begin with some topics. I imagined from special effects what would occur during such collision, while intrigue contents itself with designing disaster roughly plans. I found amusing to take out the pictures of context and to begin with them. This frees us all at once from the aesthetic aspect», he adds in a smile. Dans Melancholia, il se confronte à la mélancolie, plus qu’aux cataclysmes. Bien que l’impulsion vienne de sa dépression, l’idée a pris corps au cours d’une conversation et d’un échange de lettres avec l’actrice Penelope Cruz, qui voulait faire un film avec lui. Elle lui a parlé de sa fascination pour la pièce du dramaturge français Jean Genet, Les Bonnes, dans laquelle deux bonnes tuent leur patronne. «Je ne fais jamais rien qui ne soit élaboré par moi, lui ai-je dit. J’ai donc tenté d’écrire quelque chose pour elle. En fait, le film s’inspire des deux bonnes, que j’ai transformées en soeurs. Penelope sait monter à cheval, j’ai utilisé ça aussi.» Le titre a un rapport direct avec sa dépression. Mais c’est grâce à un documentaire qu’il a découvert que la planète de la mélancolie était Saturne, puis il est tombé sur une page web qui parlait des collisions cosmiques. Melancholia débute comme Antichrist par une ouverture. Dans une succession de séquences et de photos sur une musique de Wagner (l’ouverture de Tristan et Iseult), nous découvrons les visions merveilleuses de Justine sur la fin du monde, ainsi que les images dramatiques de la collision cosmique. «J’ai toujours aimé l’idée de l’ouverture, le fait de commencer par quelques thèmes. J’ai imaginé à partir d’effets spéciaux ce qui se produirait lors d’une telle collision, alors que l’intrigue se borne à ébaucher le désastre en gros plans. J’ai trouvé amusant de sortir les images du contexte et de commencer par elles. Ça nous débarrasse d’un seul coup de l’aspect esthétique», ajoute-t-il dans un sourire.

What type of aesthetics did you want for this film?
«I like shock between what is romantic, grandiose, stylised, and some form of reality. The most part of the film was accomplished camera in the shoulder. But problem, it is that we turned in a splendid castle in Sweden. If you add marriage in this with the guests in formal dress, this can hardly not become nice», he smiles.

And it wasn't your intention?
«It is hard to introduce a little of ugliness. I think that the film is on the verge of plastic.»

The empty rituals of reality:
After the initial ballet of the purpose of the world, the film becomes divided into two parts. The first one is called Justine and deals with the melancholic sister and with her marriage. Other one is called Clear and covers the countdown till the end. As says the film director: «If everything must leave in smoke, this has to start well. »Justine the melancholic is solved to become normal, explique-t-him. She therefore wants to get married. «She wants to finish with absurdity, anxiety, doubt. That's why she wants a true marriage. Everything goes well until the instant when she doesn't any more succeed in being confronted with her own requirements. There is a recurrent retort, ‘you are happy?’ She owes of the being. Otherwise, marriage has no sense. You must be happy immediately! Everybody tries to make her come down to earth, but she really doesn't feel like participating.»

In the film, she seems unable to get involved. Does she take situation seriously?
«She doesn't take marriage seriously. At the beginning, she plays with this, and as her feels controlling things, she can make fun of it. But melancholy re-emerges. And when the marital night comes, she can't simply face it.»

She seems elsewhere – where is she, mentally?
“According to me, she dreams about shipwrecks and about sudden death, as wrote it Tom Kristensen. And she is going to have them. In a sense, she succeeds in drawing this posterior planet the sun and in giving herself up to her.»

When they dream about shipwrecks and about sudden death, it is surely because this seems more real than our odd world?
«I think that it is fair. In reality, she is in the grip of doubt, and when she attends marriage that she was obvious to herself, she is grabbed by this doubt.»

Doubts regarding what?
«Is this worth there? A marriage is a ritual. But is there anything beyond the ritual? No. Not for her.» «Us, the melancholics, don't appreciate rituals, and it is well damage. Myself, feel a pain in parties. Perhaps the melancholics put the bar higher than some beers, a little of music and even worse, multicoloured garlands. All this rings so wrong! If rituals sound forgery, and if they are worth nothing, then it can apply to all rest.»

I assume that it is the way of seeing the melancholic – everything is hollow?
«If there is a value behind the ritual, everything goes well. It is as a film. There has to have something in a film. Intrigue is the ritual which leads us to contents. If there is something inside the film, I can be touched. But if the ritual is empty, if I have no more pleasure to be received from Christmas presents or to see the joy of the children, all ritual consisting in dragging a tree in the living room becomes empty.»

Therefore, in a sense, it is the eternal question of the melancholic: is everything hollow?
«It is what Justine feels each time she notices marriage this done. She submitted to a ritual without signification.» And others don't feel the same thing? «Others, this doesn't disturb them. They content themselves with going and with coming, they find the nice ritual.»

The desire of reality:
Justine isn't simply nostalgic. She has a desire of pathos and of drama, explains Lars von Trier. «She aspires to something that has a true value. And true stocks implicate suffering. In the last analysis, we have tendency to see melancholy as more true. We prefer music and art which contain a top of melancholy. The melancholy in itself is a value. A not shared and unhappy love seems more romantic than a happy love.»

But why does the melancholic dream about shipwrecks and about sudden death?
«Because that's true. Desire is true. It is possible that there is no truth to be wanted, but desire is true itself. Just as pain. We feel her inside us. She is real.»

What do you feel personally at the idea that the world could have the end?
«If this could arrive on the instant, idea pleases me. As says Justine: life is bad, no? Life is a destructive idea. Creation perhaps entertained God, but he really didn't think about things», says by laughing the film director. «Therefore if the world stopped and that any suffering and any desire disappeared in a twinkle, I would be ready to press myself on the button. Provided that nobody suffers.»

Is there more suffering or more joy in life?
«More suffering, of course! Of course, it is possible to retort: the orgasm. Yes, it is rather well. But I think that there is much more suffering and pain, that of pleasure.» Marriage is Justine's last try to return in life, instead of climbing out of it by desire. «She tells herself: now I am going to force myself to fulfil rituals, perhaps that he will take from it out the some truth. When you overcame a depression, you are forced to establish rituals. Go for a walk of five minutes, for example. By fulfilling movements mechanically, rituals end up acquiring some signification.»

In accordance with the currency: Pretend, the rest will follow?
«It is what she tries to make. But his aspirations are too big and his too colossal desire of the truth. I think that it is valid for the melancholics in general. We have a big requirement of the truth.»

Is the desire the most important aspect of Melancholia?
«I find that words go very together. A melancholic aspiration must be as emotional as possible. It recalls the picture of the wolves howling on the moon.»

The wolves shout what? ’Come to be taken’?
«Yes, because I have a place somewhere», he laughs. «It is for this that Justine shouts in this planet: ‘Come to be taken’. And she is devoured. What is emotional, it is not only collision between two planets, but also fact that Melancholia devours the Earth.»

It is it his desire: to be devoured?
" Yes ", he laughs. «It is therefore the happy end, after everything.»

Only in the world:
«In the film, the sisters recall the fact that they are alone in the world. For me, this tells a big difference. That life disappears from the Earth is a thing, but if there are cells elsewhere, they have something on that to rebuild. While if we are alone, it is the end of everything.»

Therefore it would be a true shipwreck nor a true sudden death if EVERYTHING didn't disappear?
«No. And it is a frightening thought. Chilling. When you look at pictures of the space, you have shiver. You really have a feeling that we are frightfully alone and you find it difficult to imagine that there isn't life elsewhere. But Justine is persuaded of it.»
In the second part of the film, while the planet approaches the Earth, it is suddenly the big sister, Clear, who collapses. While Justine becomes more and more calm. The husband of Clear, interpreted by Kiefer Sutherland, is a recurrent character of Lars von Trier: the rational man who studies things and believes he can explain everything, in this case why Melancholia won't enter conflicting with the Earth. «He reassures his wife throughout the film, then suddenly, he stops. And there, she is alone», he smiles. «Finally, the sisters so don't differ as this. They share the same lashed mother who abandoned all this bloody mess, what made her bitter. She aspires any more to nothing. So Clear always had to be a mother for her small sister, and when you look after others, you must be strong.» «Finalement, les soeurs ne sont pas si différentes que ça. Elles partagent la même mère cinglée qui a renoncé à tout ce merdier, ce qui l’a rendue amère. Elle n’aspire plus à rien. Si bien que Claire a toujours dû être une mère pour sa petite soeur, et quand vous prenez soin des autres, vous devez être fort.»

Does why clear collapse when the planet approaches?
«She has something to lose. Between others, a child. She wants nothing and she appreciates what she saw. While Justine has nothing to lose. It is a melancholic. Us, the melancholics, want continuously, and when you want, you have nothing to lose, since you have nothing.»

Therefore if you appreciate what you have, you are displayed?
«Yes. The melancholics pass lightly on everything. Perhaps it is a means to survive. We haven't to kiss goodbye things which we lose», he says by adding with a small laugh: «But on the whole, they are very unpleasant to the one with other one. My characters are him, in general. They disappoint mutually.»
I receive relation between both sisters as very loving.
«Yes, at the end. I think that there, they meet. It is also what recalls the happy end. The fact that the opposites merge. They have ways of reacting different, of course. But they were two and make no more than one.»

The last film of the world:
Before the beginning of filming, Penelope Cruz withdrew because of other commitments and Kirsten Dunst had title role on his place. «Our collaboration was a nice surprise» said Lars von Trier. «I find that it is a sacred actress. She is much more modified than I thought of it and she has advantage to have had a depression. All sensible people had one of it. She helped a lot me. It had taken the pictures of itself in this situation, and I could therefore see what it resembled. To what extent she was present and smiling, but with a completely absent look. It made this very well.» If you ask Lars von Trier of what he thinks of his film, it is more difficult to get an answer. «When I see him, I am happy. But I saw him so much times when I don't any more succeed really in seeing him. »«Charlotte Gainsbourg said to me a thing which very pleased me: «It is a strange film.» He laughs.« It was adorable, because I was afraid that the 'strange ' is a bit lacking.»Elle m’a beaucoup aidé. Elle avait pris des photos d’elle-même dans cette situation, et j’ai donc pu voir à quoi elle ressemblait. À quel point elle était présente et souriante, mais avec un regard totalement absent. Elle fait ça très bien.» Si vous demandez à Lars von Trier ce qu’il pense de son film, il est plus difficile d’obtenir une réponse. «Quand je le vois, je suis content. Mais je l’ai vu tellement de fois que je n’arrive plus vraiment à le voir. » «Charlotte Gainsbourg m’a dit une chose qui m’a fait très plaisir : «C’est un film bizarre.» Il rit. «C’était adorable, parce que j’avais peur que le ‘bizarre’ fasse un peu défaut.»

What is your concern on this subject?
«Oh well, I am afraid that he becomes too 'nice '. I like the romantic side. The pathos. But it is frightfully close to 'nice '. Exactly as when you take pleasure in the Romanticism with Wagner. When does this become simply coarse?»

He isn't forbidden that it is improperly nice, I assume?
«Not, provided that there is an idea. I had a marvellous feeling of roughness with Antisculpted Christ. I don't have him with Melancholia. I wanted that it is perfect in a way. I hope that people will find something behind the varnish, by searching well. But it will be more difficult to disclose than with Antisculpted Christ, because the surface is so polished.»
With Antisculpted Christ it wasn't possible to make otherwise than to rush into holes?
«It is what I want to tell. In this film, you can skate on the polished surface. Style is polished, but under the smooth surface, there are contents. To arrive at it, it is necessary to see beyond the varnish.» «The worst thing would be to say as Nordisk Film: There are nice pictures. This destroyed me. Because if I make a film which Nordisk Film likes, I stop tomorrow!»

Doesn't this help to destroy the world?
«I hope for it. At least, the planet which approaches gives a fundamental suspense. Suspense can hardly be stronger when they know that a planet ten times as big as ours approaches and what she is going to enter conflicting with us. I assume that this prevents the public from going out in the middle of the film.»
«By going out of projection, Thomas Vinterberg said a very sensible thing» and he follows in a roar of laughter: «How to make a film after this?»