Melancholia (2011) Written and directed by Lars von Trier.
Kirsten Dunst as Justine and Charlotte Gainsbourg as Claire (not pictured).

Justine: The earth is evil. We don’t need to grieve for it.
Claire: What?
Justine: Nobody will miss it.
Claire: But where would Leo grow up?
Justine: All I know is, life on earth is evil.
Claire: There may be life somewhere else.
Justine: But there isn’t.
Claire: How do you know?
Justine: Because I know things.
Claire (angry): Oh yes, you always imagined you did.
Justine: I know we’re alone.
Claire: I don’t think you know that at all.
Justine: Six hundred and seventy eight. The bean lottery. Nobody guessed the amount of beans in the bottle.
Claire: No, that’s right.
Justine: But I know. Six hundred and seventy eight.
Claire: Well, perhaps, but what does that prove?
Justine: That I know things… and when I say we’re alone, we’re alone. Life is only on earth… and not for long.

(and Happy 56th Birthday, Lars von Trier)

2 Responses to “Melancholia (2011) – Happy 30th Birthday, Kirsten Dunst”

  1. The first eight minutes of MELANCHOLIA must surely rank among the most rapturous ever filmed. Taking his cue from the opening of his last film, Antichrist, Von Trier brought together imagery of ethereal beauty and Wagner’s musically cathartic Prelude to ‘Tristan und Isolde’ to electrifying effect. Existential dread has rarely if ever resulted in such a ravishing and transportive experience in a film that showcases the sensibilities of Bergman, Strindberg and the Scandinavian world view. The film is a psycodrama played out in a metaphorical scenario that most compellingly recalls Persona and The Passion of Anna. Von Trier’s sublime use of the aforementioned Wagner composition may be the most profound employment of classical music in a movie of all-time, and it fully supports the indellible images that bring it to visual maturation. Both Kirsten Dunst as a true force of nature and Charlotte Gainsbourg are transformative and the film bears more than a striking comparison to Tomas Vinterberg’s The Celebration at least by way of brooding anger and melancholic sensibilities. A beautiful nightmare tinged with strife and regret and dark humor the film reaches into the inner recesses of the imagination with full Von Trier flowering, destroying the world to reach ultimate artistic expression.

  2. This would’ve been a fantastic comment for the watercooler where I highlighted exactly the scene you mention, Sam.

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