Lars Von Trier is not a normal man, and Melancholia is certainly not a normal film. These are two things you must be aware of before you go to see this. If you are not aware of them, you might be in for a surprise. Is it a drama film? Yes, but also no. Is it sci-fi? Again, yes and no. Although almost heavily advertised as the latter, Melancholia is far from your typical sci-fi flick. It is, simply put, a blend of genres, and for film enthusiasts like myself, that is indeed a good thing.

Plot-wise, the film revolves around Justine (Kirsten Dunst) and to a lesser extent, her sister Claire (Charlotte Gainsbourg). The first segment of the film is a lengthy one in which Justine weds her partner Michael (Skarsgård), and the reception that follows. It’s not long before we get an indication that Justine is not content with life. And essentially, that what the story is about. Justine’s life, and the fact that she eventually finds solace in the most dire of circumstances. Although the wedding section of the film is quite enjoyable, it serves no other purpose than to express Justine’s depression. Well, I suppose that and it gives the co-cast a chance to show off their stuff. John Hurt and Charlotte Rampling are terrific as the separated estranged parents, and Skarsgård shows that he can do more than look good sucking blood. Von Trier put together an odd cast, but there’s no denying he got the best out of them.

Once the wedding section of the film is over, several months pass, and we get a look into Claire and husband John’s (Keifer Sutherland) life. John is a keen astronomist and has discovered what appears to be a new planet, Melancholia. And by his calculations, it’s going to hit Earth. This of course, is the sci-fi related aspect of the film. And fans of said genre will undoubtedly be wowed by the superb visuals involving this planet. It really is typical fancy ‘artsy fartsy’ Lars Von Trier, and quite frankly it’s some of his best-looking work.

So, while astronomist John encourages son Leo to take an interest in the planet too, Claire becomes more and more worried about her sister, who we discover now to be, for lack of a better word, a zombie. She is jobless, depressed and in an apparent voluntary confinement.

Claire takes her into their household in an attempt to “fix” her. Although, originally no clear progress is being made in this department, when Justine learns about the possible imminent Melancholia collision, she finds a sense of peace. The end of the world is nigh -- the most bleak of outcomes -- and for whatever reason, Justine sees this as a good thing. Kirsten Dunst gives a brilliant turn, and delivers easily one of her best performances to date.

Without completely spoiling how the film ends, I will say that it is again visually brilliant. A real treat for the eyes. And ultimately, it will make you think. Or at least, that’s what Von Trier is hoping the film will do. Is it a bleak ending or an uplifting ending? Neither? Both? You decide.

Is there a deeper meaning behind this sci-fi, yet not sci-fi, dramatic, yet not dramatic film? Most definitely. Audiences will likely be split on whether it’s brilliant or simply another piece of self-indulgent crap. You decide. One thing for sure is that Lars Von Trier is proving to be one of the most original and exciting guys in the film-business.

   -- Joe O'Brien