Shots: Lars von Trier's "Melancholia"

This is an introduction to a new type of post for the site, "Shots." Each "Shots" post will focus on important images in a specific film. While re watching a film (I will not do a "shots" post for a film on my first viewing, as I need to be familiar with it in order to pick and choose what images are important) I will pause, bring up relevant subtitles and screen shot images that are crucial to the film as a cinematic work of art. After narrowing down the many "shots" of the film, I will put them together in a photo gallery. Enjoy and engage!

"Melancholia" is one of the more beautifully photographed films of the past few years, so naturally it was an easy first choice for the series. Released in 2011 and directed by Lars von Trier, the film is a portrait of depression. It parallels the depressed with the mentally stable and then adds in a coming disaster to test the sides. Justine (Kirsten Dunst) plays the depressed here, while her sister Claire (Charlotte Gainsbourg) is, in a general sense, normal. The film follows the pair through Justine's wedding night and the coming of a planet on a possible collision course with Earth.

Here are the images of "Melancholia":

In Honor of the Upcoming Release of "Nymphomaniac," the Top Five Films of Director Lars Von Trier

Lars von Trier has earned a reputation as one of the best
and most controversial directors in contemporary cinema.
(Photo by Georges Biard)

With polarizing Danish director Lars von Trier's new film, "Nymphomaniac," set for a Christmas release, hype has been steadily building over the past few months. It began when the director announced that the film will be an introduction to a new genre of film, digressionism.  The two part film, which seems set to be on par with the ballsy director's most controversial as it will feature unsimulated sex (something star Shia LaBeouf claims to be absolutely for real), has been promoted through a slow release of content to the public. Every month the film's official website has been releasing a new short clip to introduce the chapters of the film, each ambiguous and more suggestive than the last. Recent releases have also included a set of risqué promo photos. In honor of von Trier's latest exploits, here is my list of the director's top five films:

5. "Europa" (1991) - The third and final film of von Trier's first trilogy also serves as the final film before his style transformation. This is not to say that the film veers that far away from typical von Trier traits; it is experimental, surrealistic and above all else, dark (some critics have noted that the film imitates many film-noir conventions), all things that scream von Trier. However, the director's next film, "Breaking the Waves," saw a switch to almost entirely handheld and grainy camera work broken up with highly stylized still shots, something that would become a trademark of a von Trier film in his later work. In that respect, "Europa" is a much more formalistic von Trier. It is beautifully shot in black and white with an occasional burst of color (sometimes both within the same shot) and tells the story of an obliviously idealistic American (Jean-Marc Barr) who sets off to work as a train conductor in post World War II U.S.-occupied Germany. He falls for a femme fatale (Barbara Sukowa) and soon finds himself in the middle of a terrorist conspiracy. Though it is not typical von Trier as film fans have come to know him, "Europa" remains one of his best.

4. "Antichrist" (2009) - No film in von Trier's bad-boy repertoire has created more controversy than "Antichrist." The film's premier at the 2009 Cannes Film Festical saw at least four people faint due to its explicit content and von Trier was even asked by a journalist to justify bringing the film to Cannes, to which he famously replied that he considered the audience to be his guests and that he did not need to justify the film. The reason for the outcry is obvious: the film features graphic sex, uncensored self-mutilation and thematic elements that have been viewed by some as antifeminist. Some scenes of the film are, in fact, extremely hard to watch. Yet there are many aspects of the film that are too intriguing for serious film fans to ignore. In fact, for all of its high profile negative response, critical reception of the film has been just about split down the middle. It's opening scene, one of von Trier's steadily shot montages, is among the more beautiful of his career. It is shot in black and white slow motion with a very deep focus and features a couple (Charlotte Gainsbourg and Willem Dafou) having what appears to be passionate sex. At the same time, the couple's child, a young baby, climbs out of a window and falls to his death. All of this is set to the exquisite "Lascia ch'io pianga" by George Frideric Handel. The scene is both shocking and beautiful, which is a good indication of what is to come. The rest of the narrative deals with the couple's attempts to stem grief resulting from the death of their son, and as they retreat to a cabin in the woods, madness prevails. For all of its naysayers, and as hard as it is to watch, scenes of stunning beauty make "Antichrist" a must-see for von Trier fans.

3. "Melancholia" (2011) - Von Trier has admittedly suffered from depression over the years (he wrote "Antichrist" during one of his all-time lows) and in 2011, he took to his profession to attack his affliction head-on. In "Melancholia" one gets the feeling that what they are being shown is beyond research; it's the type of thing one must know first hand. Coming from an experimental director like von Trier, this is not exactly as it sounds, but there is a pervading authenticity throughout the film. "Melancholia" tells three interwoven stories split into two chapters. The first is that of Justine (a brilliant Kirsten Dunst in her best performance to date), a sufferer of chronic depression who is attempting to get married and lead a normal life. The second story belongs to Claire (Charlotte Gainsbourg), Justine's sister who cares for her during her depression episodes, and the third is the impending end of the world at the hands of a rogue planet named Melancholia that is predicted by scientists to be on a collision course with Earth. Von Trier uses this premise to explore the parallels of depression and everyday life. In the real world, the depressed cannot function, but in the face of a disaster, roles are reversed. "Melancholia" features gorgeous cinematography, daring performances and a powerful vision of depression and destruction.

2. "Dancer in the Dark" (2000) - Every experimental director has at least one film that is grossly overlooked, and this is von Trier's. What "Dancer in the Dark" should be viewed as is an absolute confirmation of von Trier as an actor's director, and one of the most unlikely in film history at that. On paper his style should take attention away from performances and place it instead on the making of his films, yet time and again he draws spectacular performances from his stars. Notably, these performances are never replicated again by the stars. The first and most notable of these performances is his shaping of Emily Watson's Bess in "Breaking the Waves"; although Watson has had a couple of compelling performances since ("Hilary and Jackie" among others), nothing comes close to her acting debut with von Trier. In "Dancer in the Dark," von Trier provokes an absolutely heart-wrenching and scarily authentic performance from Icelandic singer Björk, who had only previously appeared in one film. Björk plays Selma, a Czech immigrant who has come to the United States with her son, Gene, and is struggling to make ends meet with a factory job and very poor eye sight. Selma is the embodiment of innocence (the film is the third and final addition to von Trier's "Golden Heart Trilogy," which focuses on innocence wronged) and as she is continually taken advantage of, von Trier simultaneously plays with your heart-strings. The film's ending is, typical of all great von Trier scenes, both haunting and beautiful. It's a shame that what this film shows of von Trier's ability to draw pure performances from his leads was not truly recognized until what he drew from Kirsten Dunst in "Melancholia" because it takes notoriety away from what is an all-time great film. Björk was so emotionally drained from the role that upon completion of the film, she claimed she would never act again, which makes sense, as this is the type of performance actors and actresses often leave a part of themselves in. Experimental as always, von Trier uses a compelling combination of musical numbers and drama to achieve his final product, but it is what he forces out of his star that makes "Dancer in the Dark" a special film.

1. "Breaking the Waves" (1996) - This is, and likely always will be, considered von Trier's masterpiece. It was the introduction to audiences of what would become his signature style of filmmaking, and interestingly enough, he has never been more masterful in applying it to his craft. "Breaking the Waves," the first of von Trier's "Golden Heart Trilogy," tells the story of the dangers of rigidity in religion. The "Golden Heart" of the tale is Bess McNeill (Emily Watson), a young Scottish woman of childishly idealistic ideas about love and religion. She talks to God about every move she makes, and believes in his influence on her life to a fault. This is the result of the extremely traditional religious environment she has been brought up in. When her new husband, Jan (Stellan Skarsgard), gets paralyzed while working on an oil rig after Bess had prayed to God to "send him home," she is convinced that his injury is her fault. She sets about keeping him alive in what turns out to be one of the saddest, most degrading displays of purity and innocence  in film history. Von Trier uses handheld camera work strategically to subconsciously attach viewers to the ingenuous Bess, making for an emotional tour de force. Watson is absolutely spectacular in her acting debut and the story is timeless. Though perhaps less experimental than von Trier's most notorious works, it is every bit as powerful and then some. "Breaking the Waves" is no easy ride, but no von Trier film is, and the director puts all of his pieces together in such compelling fashion that it would be wrong to call it any less than a masterpiece.

Q & A with "12 Years a Slave" Director Steve McQueen Plus Cast Members Chiwetel Ejiofor, Michael Fassbender and Lupita Nyong'o

Acclaimed director Steve McQueen is known among cult fans as one of the harshest film makers in today's cinema. He is also known as one of the most talented up-and-comers in the business. Now his reputation is set to make its way into the consciousness of casual film fans worldwide, as his new film, "12 Years a Slave" is creating huge buzz on the film festival circuit as an early Oscar favorite. The film tells the true story of Solomon Northup, a free black man who was kidnapped and sold into slavery in 1841. McQueen was on hand to unveil his film to audiences at the New York Film Festival this Tuesday and answered questions for fans and media alike:

Director Steve McQueen at the New York Film Festival's opening
 screening of his new film, "12 Years a Slave." (Photo by Michael Iannucci)

Q: Steve, you have a personal family tree that you can trace back through your ancestors to slavery. How long has this desire to come to terms with it been brewing inside you?

A: I think it has been brewing inside me since I've been conscious of it. Someone asked me the question the other day: "When was the first time you heard about slavery?" And I could never remember. All I could remember was shame and embarrassment as a person, as a child. That was the only thing I could think of and as you discover certain things about your past you start thinking about things. But that's when things start, when you have an idea of what has gone on in the world.

Q: It would have been easy for you to make this film with a kind of anger, but you keep from moralizing in the film. How did you approach the actual shooting of this?

A: I wanted to understand it and engage with it. It was like going into someone's apartment blindfolded and you're feel, your touch, your senses, these things take over the obvious. The obvious makes you interpret things in a way which sometimes is a false because morals come into play. You have to be honest; you have to be brute; you have to be direct, otherwise you're kidding yourself.

Q: This is not a traditional narrative of the slave experience. Were you initially interested in depicting the more traditional experience of slavery before you arrived at this particular story?

A: I didn't really know what the traditional idea of slavery was. I wanted to find out what it was really. I went in with open eyes. I couldn't go in there with a preconceived notion because that's just not me. The whole idea for me was a free man who gets caught into slavery and what I liked about that is that everyone in the audience can relate to Solomon, being taken away from his family so therefore you're on that journey with him.

Q: There doesn't seem to be a real moment of despair for Solomon in the film. Does that have to do with his Christian faith, something he shares with his oppressors?

A: I didn't see it in a sense of Christianity. In the book he calls on God a lot, but for me it was about his own self-determination, courage, and the gathering up of his own will in order to keep on going.

Q: Where does the hatred of Paul Dano's character originate?

A: Our idea was that this guy was beaten by his father. I come from a West Indian family and a lot of parents beat their children. This comes from slavery. You see something and you think it's good to do to your children. That was the idea with Paul's character.

Q: How did you work with cinematographer Sean Bobbitt to achieve the images of the film?

A: I've been working with Sean Bobbitt for the last 13 years. First we talk about color. This was the first time I've shot outdoors in an environment that was so lush. Our costume designer, Patty Norris, took earth samples from all three of the plantations to match them with the clothes and talked to Sean to deal with the temperature of each plantation and each character temperature. There was a lot of that kind of minute detail.

Q: What drew you to Solomon Northup's story?

A: Solomon's story actually matched my original idea and it was just so striking. It was like a Brothers Grimm fairy tale; the darkest, deepest, most haunting fairy tales which end happily ever after but you go through hell to get there.

Q: This is your third movie with Michael Fassbender. Did you have him in mind for the character of Edwin immediately when casting?

A: Yes, he was always my choice for that and he's an amazing actor. Personally, I think he's the most influential actor of his time right now. People want to be an actor because of him; people want to be in a movie because of him; people want to make a movie because he could be in it. He has that kind of pull.

Q: Is there a certain scene from the film that stays with you when you look back on it?

A: Not really. I mean, the whole thing stays with me. It's just the experience. It's the whole shebang for me.

Q: How did you find Lupita?

A: How did she find us? I mean, over a thousand girls auditioned for this role. I got her audition tape and I couldn't believe it. I just thought, 'Is she real?' And she was. She's amazing.

Q: What did you learn about the psychology of slavey in making this film?

A: Survival. I'm here because some of my ancestors survived slavery in whatever way they could. Could you imagine being born a slave? I think that's the worst thing that could happen to a human being. Someone who doesn't think of themselves as anything other than what their so-called master thinks of them, which is nothing. It's a deep psychological wound. Deep. 

The Cast:

"12 Years a Slave" features one of the best casts of the year. Chiwetel Ejiofor plays lead Solomon Northup and is an early lock for the Academy Award for Best Actor, McQueen regular Michael Fassbender gives a powerful performance as evil slave owner Edwin Epps and Lupita Nyong'o, in her American acting debut, is undoubtedly the biggest surprise of the film as the most horribly abused of slaves, Patsey. They were on hand in New York to answer questions as well.

Steve McQueen and cast members Chiwetel Ejiofor, Michael Fassbender
and Lupita Nyong'o fielding questions about "12 Years a Slave."
(Photo by Michael Iannucci)

Q: Were you approached by Steve from the very beginning for this role?

Ejiofor: Yes, I've known Steve for a while. I met him for the first time after "Hunger" and that was a great film as well and I knew he was an incredibly talented director right. After a couple of years he called me about this.

Q: How did you go about humanizing the character Edwin Epps?

Fassbender: I think through the fact that he's in love with Patsey. He can't quite wrap his head around that or handle it because of the time he's in so he sets about destroying her, but I thought that was a very human aspect to the character.

Q: What was it like being on this level in your American debut?

Nyong'o: At first it was a little bit intimidating but Steve is just such a great director that it's easy to work your way into the characters and once we got going it just flowed.

Q: How difficult was it to shoot the long take in which Solomon is forced to whip Patsey?

Fassbender: That was actually a harder scene to watch, for me personally, than it was to film because there were a lot of technical elements in the scene. We knew that we were going to shoot it in one take and there were quite a few actors involved in the scene so we all had to keep our rhythms and our space in addition to keeping the rhythm with Sean behind the camera. So there's that dance going on; there's the distance between the players, the camera, and for me personally I had to hit a mark so I didn't hit Lupita but we tried to get as close as possible.

Ejiofor: I think in some of those sequences which ostensibly look hard to shoot weren't because we were very deep down the rabbit hole at that point and I think focus on set in those times was so high that we were just in there to try to tell the story.

Q: What do you walk away from this film with?

Ejiofor: So much. It was a life changing experience for me and it really opens up my work in acting.

Fassbender: Just the satisfaction of making it. It's a very important film and I'm just happy to be able to share it with everyone.

Nyong'o: An unforgettable experience. It's not every day or even every film for that matter that you become a part of something so important. 

Three Key Elements to Look for in "12 Years a Slave"

The intense physicality of both Michael Fassbender's performance and Steve McQueen's direction made "Hunger" (2008) a break out film for each. (Photo by IFC Films)

In honor of Steve McQueen's new film, "12 Years a Slave," which screens at the New York Film Festival this week, here are the top three key elements of McQueens first two films, "Hunger" and "Shame," that are likely to resurface in his newest work:

Bobby Sands (Fassbender) talking to a priest (Cunningham)
during the longest shot ever on film in "Hunger."
(Photo by IFC Films)

1. Long shots - McQueen's use of long takes is among the most powerful in recent cinematic years. His first film, "Hunger," features a much-talked about 17 1/2 minute long shot as its centerpiece. The shot, which covers the penultimate discussion between infamous Irish Republican Army member Bobby Sands (Michael Fassbender) and a priest (Liam Cunningham) about whether or not Sands should begin what ultimately proves to be a fatal hunger strike in 1981, covers 28 pages of script and is considered to be the longest single shot on film. It effectively draws attention to the serious moral decision being made and sets emphasis on the next shot immediately following its cut, one that delves into the psychology of deep belief in a cause via an intense Fassbender. All that follows in the film is the direct result of this interchange; without the long shot, the film's ending would prove empty. Watch part of the long take here (the important cut comes at 7:05 and continues here).
   
   The long shot also comes into play in McQueen's second feature, "Shame." This time its use is much less important to the plot of the film, and much more important to the underlying themes of the movie not yet fully understood by the viewer at the time of the shot. After allowing his sister to stay at his apartment, sex addict Brandon (Fassbender) soon finds himself in the awkward position of playing host to a late-night hook-up between his sister and his boss. After sounds of the affair take over the apartment, Brandon goes out for a late night jog to escape. Here starts a tracking shot that follows Brandon jogging for several minutes (and many blocks of NYC streets). Brandon is both literally running away from the sex of his sister, and at the same time is figuratively running away from sex itself, as his addiction is a more serious problem than the audience is fully aware. The camera stays perfectly on pace with Brandon; running will not help him escape from his addiction.                                                                                                          
2. A direction-matching performance - In both "Hunger" and "Shame" McQueen's brutal direction style is perfectly complimented by the performances of Fassbender. In "Hunger" Fassbender's unflinchingly determined and physical portrayal of Sands matches McQueens show-all style; McQueen's determination lies in his quest to portray the conditions of Irish jails during the protests of the late 70's and early 80's exactly as they were, while Fassbender's is a literal determination to adhere to his character's  beliefs. In "Shame," meanwhile, McQueens directorial techniques play the foil to Fassbender's character's weakness, with camera takes panning to and lingering on the triggers of Brandon's addiction. Both films feature a striking physicality that is embodied both in Fassbender's actions and McQueens images.
   
   "12 Years a Slave" is McQueen's first film without Fassbender as the leading man (he is a supporting character instead), but all signs from trailers as well as early reviews are that Chiwetel Ejiofor is a force to be reckoned with as Solomon Northup; it is very conceivable that his character's determination to make it through the rigors of slavery matching what will surely be McQueen's determination to portray all the ugliness that is slavery. There is also talk of Fassbender as a towering supporting figure, and that he plays a slave owner suggests he could play a major role in McQueen's portait of slavery.                                                                                                                                                 
3. The truth - There is something about McQueen's films that make you feel as though you are watching a near synchronization of art film and documentary. This is due to many things: his lean scripts, the honest performances he draws from his actors, and his willingness to show vile and disturbing images at the risk of turning off viewers (jail walls of "Hunger" are often painted with feces by the inmates themselves). "Hunger" shows the viewer the truth behind protests (and the cruelty they often invoke) and "Shame" shows the viewer the truth behind sex addition.
   
   "12 Years a Slave" automatically has an extra built-in value of truth above and beyond "Shame", as it is based on a true story. That, combined with McQueen's penchant for truth in images, will likely give audiences a wholly authentic experience, because the disturbing images they are being shown actually happened (as was the case with "Hunger").

"12 Years a Slave" has largely received rave reviews thus far in its limited showings, and by all accounts figures to be a major contender come award season. I will be at the New York Film Festival's Oct. 8 showing of the film, so expect a review soon!

"Inside Llewyn Davis" Stars Grace Both the Red Carpet and Concert Stage in New York

Carey Mulligan and me at the New York Film Festival's premier of "Inside Llewyn Davis." (Photo by Adrienne Straley)

The 51st New York Film Festival has just begun and it is already bringing out the big names. Present at the festival's premier of "Inside Llewyn Davis" last Saturday were directors Joel and Ethan Coen, stars Oscar Isaac and Carey Mulligan, and numerous other cast and crew members.

The premier came on the heels of a press screening of the film just days earlier during which the Coens revealed that it is "probable" they will make the transition from film to digital shooting for future projects. Two of cinema's remaining traditional auteurs embracing the digital age is sure to stir up some grumbling among film purists, and even Joel himself told media he was not "wildly enthusiastic about the idea," however, talk of the Coens was nothing short of flattery on the red carpet Saturday.

"I would never want to mess with a Coen brother script," said Mulligan ("Never Let Me Go," "An Education," "Shame") when asked if there was any improvisation on the set of the film. "I was just given this gift of a role with these amazing sort of ranting monologues and I was just so lucky."

John Goodman signs autographs
for fans at the red carpet premier.
(Photo by Michael Iannucci)

Isaac ("Drive") pointed to the guidance he received from the brothers during shooting (in what was his first lead role) as "more than I could even possibly comprehend" and cast member Garrett Hedlund ("Tron," "Four Brothers") told Hilary Lewis of The Hollywood Reporter that he knew the film was going to be something special as soon as he saw the Coen name attached to it. 

Coen brother film regular John Goodman ("The Big Lebowski"), who apparently has some of the more memorable lines in the film, previewed his witty banter on the red carpet. "We are pretty serious about our damn comedy," said Goodman of his relationship with the Coens. 

Another aspect of the "Inside Llewyn Davis" earning considerable praise from critics and early audiences alike is its music. The film (about the Greenwich Village folk scene in 1961) features a soundtrack co-produced by T-Bone Burnett and Marcus Mumford of the popular band Mumford & Sons (and husband to Mulligan). Mumford helped write some original music for the movie, including the much-talked about track (featured in some trailers for the film) "Fare Thee Well (Dink's Song)." The film will also feature music performed by cast member Justin Timberlake (though certainly not the type of music you're used to hearing from him). Apparently the pop star isn't half bad as a folk artist.

The New York Film Festival red carpet.
 (Photo by Adrienne Straley)

While Oscar nominations for the film are already expected in many of the major categories, the score seems all but a definite lock for one. In fact, Mumford, Mulligan and others from the film performed at a concert celebrating the music of the film just a day after its premier in New York. It is pretty hard to imagine a movie that features such a talented cast and skillful direction yet remains focused around its music not getting at least a nomination for its score. 

Also in attendance at the red carpet premier were cast members F. Murray Abraham, Max Casella, Alex Karpovsky, and Jeanine Serralles. 

"Inside Llewyn Davis" plays twice more at the New York Film Festival (Oct. 5 and 11) before its wide release Dec. 20. I will be at the Oct. 11 showing so expect a review soon!