Melancholia has been the firing topic of discussion amongst film connoisseurs in the recent days; but not because it is the latest film from the master filmmaker Lars Von Trier, nor is it because of its strikingly beautiful cinematography or the provocative nature of the plot about the end of the world. Only a few days ago, Lars Von Trier and the cast held a conference after the showing of Melancholia in Festival de Cannes. And after fifteen or so minutes later, as hundreds of camera flashes was going off, main actress and now the honorable winner of Best Actress award in Cannes Kirsten Dunst whispers in a very delirious way as they are getting ready to leave the conference room; "That was intense, Lars." Yes, there is no other way of describing what just happened. Trust me, because I was fastening my seatbelt and holding tightly on to my hat as the entire segment unfolded from a live feed. In a very curious, weird and offensive way, Trier made a horrible, tasteless and nerve-wrecking joke about Nazis and the Holocaust. Even though he was clearly joking and a babbling uncontrollably under the pressure, the comment was not excused, especially by the festival staff. Immediately on the following morning, Festival has announced that Trier was now Persona Non Grata; a semi-permanent ban from the festival premises. However, they kept Melancholia as the main competition for Palme d'Or, and his future films would still be eligible for the festival entry and prize. It was just Trier who should not even be near a certain radius of the festival premises, even when he or his film is awarded a prize. In my opinion as a Trier-maniac and a filmmaker, this action by the festival committee is completely justified. Even if it was absolutely clear that Trier was making a joke, he, as a public figure, should have chosen his words cautiously. However, Trier's work should not be scrutinized and talked-down because of this happening. It is entirely possible to perceive an artwork, even from a psychopathic mass-murderer, as a work of divine beauty. Hate the artist, not his art. Beside, to be frank with all the sarcasms aside, how can you not be infatuated with and adore someone who has this to say about his latest work which he does not approve because it's "overly romantic" in his point of view:
(on "Melancholoia")
I am confused now and feel guilty. What have I done?
Is this 'exit Trier?' I cling to the hope that there may be a bone splinter amid all the cream that may, after all, crack a fragile tooth ... I close my eyes and hope!
-Lars Von Trier, Copenhagen, April 13th, 2011
