Breaking the Waves Fourth Wall

Chaos Reigns Rains

Tapping into the depressive alarmist in all of us: Lars Von Trier's Melancholia.


Charlotte Gainsbourg reunites although rightfully on edge (labia presumably intact) after her maternal meltdown in Antichrist.


She stars opposite Kirsten Dunst in a film that melds her Marie Antoinette melancholy with a more soul-scarring degradation, essential to Von Trier's oeuvre. What begins as Breaking the Waves-style bliss at a wedding quickly descends into the ironic devastation of a planet on a crashcourse with earth and its lethargic/paranoid party guests. Among them Alexander Skarsgard, Stellan Skarsgard, Kiefer Sutherland, Charlotte Rampling and Udo Kier.


Although similar to Sofia Coppola, Von Trier's doom and malaise sure make for great eye candy. Kirsten Dunst makes moping exquisite.


Dunst lounging on rocks and in rivers, summoning sparks in the sky... The imagery is sexy, sinister and electrifying! In anticipation for precipitation, here's a few stills to satisfy us until the apocalypse (which should begin in Denmark on May 26 and reach American shores by summer). When the end of times come, may they be this visually arresting and fraught with nudity.

Full Trailer...

Melancholia from Zentropa on Vimeo.

I Thought Nought: The Essentials

The decade's finally over. Me talking about it? ...Not so much.

Moments and Thoughts on

the Best of the Noughts

-THE ESSENTIALS-

Mulholland Dr. (2001)

Directed by David Lynch

David Lynch's deliriously fascinating and addictive fever dream aloft the City of Angels boasts an epic breakthrough from a sexy/scorned Naomi Watts. One of Lynch's finest cinematic experiences and artistic expressions. Gorgeous, ominous and wholly original; it's an impossible puzzle with all its pieces perfectly in place.

In the Mood for Love (2001)

Directed by Wong Kar-Wai

Sensuous longing of such exquisite craft and resonance. Tony Leung and Maggie Cheung spark one of the most haunting and passionate romances to grace the silver screen, without even allowing their romance to ignite. Wong Kar-Wai's enveloping aura looks back on a love in full bloom stifled in its time and place. Painful and majestic in its emotional and visual restraint, it's one of the greatest love stories ever told, and yet barely spoken.

Before Sunset (2004)

Directed by Richard Linklater

Richard Linklater's sequel-de-resistance picks up the love connection of Jesse and Celine with startling ease from its predecessor Before Sunrise, then adds to and extends it with a poignancy, maturity and immaculate sense of possibility. One flirtatious, funny and sobering stroll through Paris reveals characters that feel entirely real, with a spark that lingers even stronger nine years later. Julie Delpy and Ethan Hawke bring immeasurable authenticity and charm to their romantic reunion, no cutaways to the Eiffel Tower necessary. Finally a romantic comedy that makes love and connection seem like more than a requisite ending.

Y tu Mamá También (2002)

Directed by Alfonso Cuarón

Bawdy sex comedy and coming-of-age drama gain a dose of maturity, melancholy and cultural perspective -- not to mention a deeper understanding of characters initially driven by getting their dicks wet. Alfonso Cuarón's film feels like a journey of the unexpected, taking one by surprise with a light, naturalistic, and pulsating energy underlined by heavy, unspoken emotions. By the time the film and its characters reach their climax, there's a whole new way of looking at things.

Brokeback Mountain (2005)

Directed by Ang Lee

Like Ang Lee's best films it's both sparing and superbly grand - if not in the majestic mountain vistas than in its thematic and emotional reach. Steeped in repression and yearning, it toys with its American West origins to reveal a love story that's both roped in tradition and completely free rein. Like the inner turmoil of its doomed lovers, the film has an ache at its center that remains long past its misty-eyed final frames, much due to the deeply felt performances of Heath Ledger and Jake Gyllenhaal. It's classic romance with a literal bent, with an elegant restraint matched only by its raw passion. "If you can't fix it, you've gotta stand it." Lucky for us, this one's pretty flawless.

Dogville (2004)

Directed by Lars von Trier

Lars von Trier bares his teeth, chains you to your seat and smashes your Hummel figurines. This audacious and inventive approach to stripped-down cinema is about as big-scale in its ideas as anything this decade -- another vicious think-piece to follow von Trier's equal parts stunning and savage Dancer in the Dark (another decade favorite). Dogville looks into a seemingly sweet small town and the sourest sides of human nature. It's not the anti-American tirade many have criticized, rather a worthwhile indictment of society as a whole. Its satire is scathing, funny and sensationally dark, told with remarkable innovation and yet another daring and devastating turn by Nicole Kidman. A bit like a cinematic Our Town, populated by Depression-era scum of the earth.

More I Thought Nought (Best of the Decade) entries here.

Trauma von Trier

How immaculate a concept: A couple known only as "He" and "She" are whisked away to their isolated cabin known as "Eden" in order to struggle through their dismantling marriage. Will they find heaven in each other's company?

Did I mention this is a Lars von Trier movie? And it stars Willem Dafoe? And its title is Antichrist? Yes it's only a matter of time before all hell breaks loose, possibly of the literal kind, but I'd wager von Trier has a few devilish tricks up his sleeve.


Lars von Trier's Antichrist - Official Trailer from Zentropa on Vimeo.

As teaser trailers go it's a stunner. I'd sell my soul to see it -- if the release date weren't already set for late May (in Denmark mind you). Heaps of atmosphere, dread, and ambiguous posturing on religion, marriage and other sorts of psychological madness.

It's interesting then that von Trier considers himself a converted Catholic and has still managed to make films as confounding and conflicted as Breaking the Waves -- which would rattle anyone's cage, bible-thumper to blasphemer. Von Trier's pulling of the strings is so damn effective and so viciously orchestrated. Just like a religious experience, there's martyrdom, human frailty and baffling leaps of faith. Oddly enough I never fault in my belief that von Trier will deliver films to put me through the emotional wringer.


Which leads me to wonder what's in store for our latest female lead, Charlotte Gainsbourg? Will she be stoned by children and then sacrifice herself to a sinister seaman? Will she be executed with musical accompaniment? Will her friends smash her spirits and her Hummel figurines? Or will she just give birth to a screaming, half-formed Udo Kier?

Only the devil knows, and he's probably busy promoting his new film at Cannes.

Storytime with Lars

Lars von Trier isn't known for giving his characters an easy way out, or his viewers an easy way in. All the same he's a master storyteller, capable of twisting emotions out of the most tightly constructed and savage of plot turns. These chapters from his immaculate and bleak Breaking the Waves sum up the film's expansive yet simple plot perfectly, as they sum up much of Lars von Trier's work. There's hope, beauty, glorious possibility... followed by that subtle sting of emotional desecration. Pull up a seat, kids.