MELANCHOLIA
Directed by Lars von Trier.
Starring Kirsten Dunst, Charlotte Gainsbourg, Kiefer Sutherland, Charlotte Rampling, John Hurt, Alexander Skarsgård and Stellan Skarsgård.
Lars. Von. Trier. Need I say more? Not a fan? Oh well. Then this trailer will most likely not convince you otherwise, even if I try my hardest. Apologies.
So here is a story about a family, an unusual subject for the Dane. Family always exists to a certain extent in his films (Dogville, Antichrist and The Idiots all contain families in their own way), however a traditional family structure does not. Not in this sense anyway. Indeed, a family unit is shown, yet little is given away and this makes the whole scenario less off-putting and in keeping with the director's style. The viewer is already fishing for more.
The progression of the trailer is hectic, messy but an interesting way of showing off a piece of (perhaps) abstract work. And although it is rambling and unclear; it captivates, in essence because the audience only gets time to think about what they just saw after the trailer. The pace is so disconnected that there is little if no time for pausing, consuming or reflecting.
Further unusual is the conscious choice to let so many voices glide over unmatching pictures, providing nonetheless crucial soundbites. Somehow, this creates a fuller, if not still messy, video that gives more and less at the same time. It can appear confusing, but is really just so for a sense of style and to let the audience return to it again, to make sure nothing was missed in the initial viewing.
All in all, the choice of using fragments rather than a clear explanation sets Von Trier's latest piece in perspective. It provides the viewer with constant surprise and the last (unexpected) line (“I am afraid that the planet will hit us anyway”) is the only transparent indication of the apocalyptic plot in this film.
It is a trailer for those who know of Trier's work, but then again - he is possibly the most self-indulgent movie-maker on this planet. A nice 8/10.
DAYDREAM NATION
Directed by Michael Goldbach.
Starring Kat Dennings, Reece Thompson, Josh Lucas, Rachel Blanchard and Andie MacDowell.
It is a shame that some trailers have a lengthy first half that demands a lot of work from the audience before it ultimately gets good.
The first reaction I had to the trailer was that the voice over, although not dominating and ever-present, is still incredibly unnatural (not to say unnecessary, one of my favourite words). The trailer would have survived perfectly fine without and it begs the question: will this element be present in the movie as well? For it would be a cuter (sorry) trailer without it – let's be honest.
As the video progresses, in a bizarre pace to a lot of seemingly untidy clips, it reveals itself as an apparently mature high school movie, compared to most (think Thirteen but less self-harm and fewer mother-daughter problems), which makes it seem unrealistic. Something just does not click. This creates a distance that unfortunately never really mends the more it is watched. If the film-makers are attempting to create a surreal, detached world of their own; I am not sure they have succeeded.
Another question I automatically thought this trailer would answer: can Kat Dennings bear a feature film on her own, minus a geeky side-kick (referring back to Nick and Norah’s Infinite Playlist)? No chemistry between her and anyone else exists, particularly her male counterparts. Perhaps the film and Dennings' talent is misrepresented here; it feels like a let-down.
This could also partly be the script's/editing's fault. Whatever scenes have been selected for presentation here are totally void of fiery drama, and difficult to live yourself in to.
Nonetheless! There is light at the end of our bleak tunnel. From 1 min 20 secs onwards something quite extraordinary happens: a montage – and it works. Loathing montages as much as I do, it really hit home here. Perfect timing, accurate structure and great soundtrack really make up for the mess the audience witness thus far. This partly works because of its timely position, partly (or especially?) because the chosen clips are slowed down, creating an atmosphere that the previous shots did not.
The trailer for Daydream Nation is pretty ceremonial in its portrayal of the film, but very nicely sown together with the music and the last section really makes watching the first bit worthwhile. Let's give it a 6/10 for its efforts.
HEARTBEATS
Directed by Xavier Dolan.
Starring Monia Chokri, Niels Schneider and Xavier Dolan.
Was I the only one who thought of Y Tu Mamà Tambièn when viewing this? Like, seriously?
This took me out of the trailer as soon as it began, which I have not experienced that often before. Immediately, a distance between audience and movie reigns during the entire 60 secs this trailer lasts. And thank god (or whoever made the executive decision on this one) that it is not longer.
I am sure it is a very pretty film – that is what the editing and the sense created over the course of the trailer suggest anyway– but the atmosphere conveyed through the trailer is alienating and unoriginal, undramatic and too abstract. This is made worse by the fact that the viewer can really feel like there is some kind of meat to this story, there is something to hang on to. But it is so pretentiously presented that is becomes hard for the audience to really look away from that and see it for what potential lies beneath the superficial and empty prettiness.
The editing style is like flipping through Wonderland or V magazine, i.e. a series of unconnected shots, that yet somehow seems bound by style and concept. Not to mention that the last shot is just as out of place and bizarre as possible.
Having said all this, there is yet something memorable about this trailer – despite the distracting music. It is not one to forget so soon. 4/10.
Louise-Afzal Faerkel
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