---
title: "Melancholia"
year: 2011
kind: "film"
canonical: "https://film.one/film/melancholia"
fi1m_id: "melancholia"
imdb_id: "tt1527186"
tmdb_id: 62215
wikidata_id: "Q165699"
fi1m_score: 80
critics_score: 55
critics_reviews: 16
published: "2026-09-15"
updated: "2026-09-18T08:38:06.578231+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Melancholia (2011)

Directed by Lars von Trier · 2h 16m · MPA R · Drama, Science Fiction

## Identity

Melancholia

- **Canonical:** https://film.one/film/melancholia
- **Type:** Film
- **Fi1m ID:** melancholia
- **IMDb ID:** tt1527186
- **TMDB ID:** 62215
- **Wikidata ID:** Q165699
- **Same entity:** https://www.imdb.com/title/tt1527186/, https://www.themoviedb.org/movie/62215, https://www.wikidata.org/wiki/Q165699

**Fi1m score: 80** · Critics 55 from 16 reviews

*In a sentence:* A planet is approaching Earth and still nobody knows how to talk to a depressed person

> Kirsten Dunst and Charlotte Gainsbourg make Lars von Trier’s apocalyptic drama painfully intimate. The middle lingers too long, but the performances make its depiction of depression worth the discomfort.

## Synopsis

Justine (Kirsten Dunst) is struggling with depression, while her sister Claire (Charlotte Gainsbourg) confronts the possibility of a disaster neither can control. At a country house, they face the threat of a planet approaching Earth. The prospect of a collision gives the sisters a shared danger, though it does not give them a shared way of facing it. Lars von Trier writes and directs this drama about depression and the possible end of the world, with Kiefer Sutherland as John, Alexander Skarsgård as Michael and Cameron Spurr as Leo.

## Review

Lars von Trier’s *Melancholia* makes depression painfully recognisable within a story about a planet approaching Earth. We recommend it, with a warning that the middle prolongs the misery beyond what the drama can support. The science-fiction premise gives the characters something enormous to fear. Von Trier’s interest is in how they bear that fear, and in the difficulty of understanding distress that looks different from their own.

Kirsten Dunst plays Justine with a withdrawal that can make her difficult company, and does not apologise for it. We found her painful to watch: in the close-ups, the effort of responding to other people seems almost beyond her. An ordinary exchange can look exhausting when the feeling that should come with it has gone, and Dunst makes us register that work. Her performance does not offer the comforting assurance that a sufficiently sympathetic person could simply talk Justine out of this.

Charlotte Gainsbourg’s Claire is essential because the film needs more than one convincing response to danger. The sisters do not experience the threat in the same way, and Gainsbourg makes Claire’s anxiety urgent and recognisable. She is not there merely to help us understand her sister. Von Trier risks making depression look like a superior kind of knowledge, but Gainsbourg makes it hard to dismiss Claire simply because she is frightened.

Cinematographer Manuel Alberto Claro sets the careful compositions of the opening montage against shaky close-ups. The close-ups work especially well: they let us study small changes in expression while the camera keeps moving. Jette Lehmann’s production design uses the country-house setting to keep the drama domestic when the threat could hardly be larger. The rooms give the sisters places to be apart without letting the film lose sight of either of them.

Wagner’s music gives the opening a grandeur that would be excessive in a smaller story, and the film earns that scale. Editor Molly Malene Stensgaard allows the later scenes enough time for discomfort to become hard to escape. The trouble is that the middle keeps going after we have understood what that discomfort means. We begin waiting for a scene to add something rather than deepen a gloom already established. Von Trier’s screenplay occasionally makes the wait harder with dialogue that sounds written to explain an attitude instead of spoken to another person.

The critical consensus is much cooler than our verdict, with much of the objection centred on remote characters and prolonged gloom. We think those reviews undervalue the work Dunst and Gainsbourg do in making that gloom specific to two people. As science fiction, the film is unusually prepared to hold on a face when it could be explaining the danger or supplying another spectacle. The pacing needs work, but we cared about these women too much to find the film empty.

Give it an evening when there is room for something difficult. Its 136 minutes are best taken without distractions, particularly when little appears to be happening. We would leave a little quiet afterwards rather than go straight in search of something cheerful.

*Fi1m score 80, published 15 September 2026.*

## What the critics say

The consensus on Melancholia is sharply divided, though praise for its images extends well beyond its admirers. The opening montage draws particular attention, and even several negative reviews acknowledge the force of the filmmaking and music. Kirsten Dunst’s performance is another frequent source of praise, with Charlotte Gainsbourg also singled out. Supporters find the apocalyptic treatment of depression intimate, sincere and unexpectedly moving rather than merely bleak.

The main disagreement is over whether that visual and emotional ambition sustains a drama. Reservations cluster around sluggish pacing, thin characters, awkward dialogue and a sense that the symbolism offers too little insight. Some critics admire Dunst but find her difficult to connect with. The Wrap notably recommends the film to people who dislike von Trier’s earlier work; The Hollywood Reporter finds the images and music impressive but the characters and ideas unengaging. The spread reflects a substantial disagreement about the film’s emotional reach.

## Straight answers

**Is Melancholia worth watching?**

*Melancholia* is worth watching for anyone with an evening to spare for something difficult, and we scored it 80. Kirsten Dunst and Charlotte Gainsbourg make depression and dread painfully specific to two sisters as a planet approaches Earth. The middle prolongs the gloom well past the point where we understood it, so it suits patient viewers rather than anyone after spectacle.

**How long is Melancholia, and what is it rated?**

*Melancholia* runs 2h 16m and is rated R by the MPA in the US. It is a drama and science fiction film.

**Where can I watch Melancholia in the US?**

*Melancholia* is streaming on Tubi and Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $2.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Melancholia, and is it suitable for children?**

*Melancholia* is a UK 15 and US R, and is not suitable for children. The review notes no violence; the difficulty is the sustained, close-up depiction of depression and anxiety, which we found painful to watch and which the film refuses to soften. It is a heavy 136 minutes best kept for adults and older teenagers who know what they are choosing.

**How does Melancholia compare to Take Shelter?**

*Melancholia* and [*Take Shelter*](https://film.one/film/take-shelter) both bring dread into a family home, but *Melancholia* makes its threat cosmic and certain while *Take Shelter* keeps the danger in doubt. We think the sister performances of Dunst and Gainsbourg give *Melancholia* the slight edge, though both films linger too long on a fear already understood. Choose *Take Shelter* for Michael Shannon and a more grounded unease.

### Reviews we read (20)

- **Empire**, Kim Newman (80/100, inferred): The critic praises the audacious mix of silliness and solemnity, beautiful filmmaking, and strong performances in this science-fiction take on von Trier's recurring themes, though it may not win over the unconverted. [Read](https://www.empireonline.com/movies/reviews/melancholia-review/)
- **Los Angeles Times**, Betsy Sharkey (80/100, inferred): The critic calls it von Trier’s most hopeful and beautiful film, lush and romantic even in its apocalyptic hopelessness, with a luminous central performance by Kirsten Dunst. Its excessive yet restrained vision is strangely forgiving. [Read](https://www.latimes.com/archives/la-xpm-2011-nov-11-la-et-melancholia-20111111-story.html)
- **Total Film**, Matt Glasby (60/100, inferred): The review notes the film's polished depiction of depression and striking visuals but finds the middle section overly focused on the protagonist's gloom, making it low-key overall despite committed acting. [Read](https://www.gamesradar.com/melancholia-review/)
- **The AV Club**, Mike D'Angelo (C): The film is seen as therapy disguised as drama with a disconnect between concept and execution; von Trier swings for the fence but misses in this autobiographical depression allegory. [Read](https://www.avclub.com/cannes-11-day-seven-two-days-after-the-tree-of-life-s-1798225635)
- **The Independent** (55/100, inferred): The critic finds von Trier's apocalyptic vision visually striking but undermined by awkward dialogue and an air of unreality, with the film's misanthropy providing some engagement despite its flaws. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/melancholia-15-2363045.html)
- **Slant Magazine**, Ed Gonzalez (★★): The film peaks with its dazzling prelude but the rest is redundant with few insights; symbolism flounders and characters remain superficial ciphers reflecting the director's nihilism. [Read](https://www.slantmagazine.com/film/melancholia/)
- **Little White Lies**, Jonathan Crocker (4/2/3): The critic finds the film eerie and authentic due to personal experiences with depression but notes it threatens to become boring, with Dunst's performance too insular and everything feeling out of reach; praises the cinematography. [Read](https://lwlies.com/reviews/melancholia)
- **Screen Daily** (40/100, inferred): The end of the world is nigh in this long and sluggish psychological disaster movie that is one of von Trier’s most dramatically flaccid to date, though an authoritative performance by Kirsten Dunst, a magnificent Wagnerian soundtrack and effective use of the country-house location give it some lingering power as a scary fable. [Read](https://www.screendaily.com/melancholia/5027778.article)
- **Evening Standard** (30/100, inferred): The review calls the film an intermittent success that offers a radical take on facing extinction but ultimately deems it programmatic, dull for stretches, and not recommendable. [Read](https://www.standard.co.uk/culture/film/melancholia-review-7426893.html)
- **The New Yorker**, David Denby (30/100, inferred): The critic views the film as senseless and borderline ludicrous like von Trier’s recent work, despite some beautiful imagery and intimacy. It meanders without conviction amid familiar shocking and portentous touches. [Read](https://www.newyorker.com/culture/culture-desk/lars-von-trier-an-avant-gardist-for-saps)
- **Time Out**, Dave Calhoun (30/100, inferred): This is a lethargic, pretty and empty study in ways of living and dying; it impresses only on a technical level with some striking images in the opening montage, but lacks a proper script, features false emotion and too much filler. [Read](https://www.timeout.com/movies/melancholia)
- **The Guardian**, Peter Bradshaw: The film is an absurd yet intriguing disaster movie about a planet colliding with Earth, with flashes of visual brilliance in its opening montage and some erotic strangeness. Gainsbourg gives the more interesting performance amid von Trier's situationist wind-up. [Read](https://www.theguardian.com/film/2011/sep/29/melancholia-film-review)
- **The Hollywood Reporter**, Todd McCarthy: The critic finds von Trier turns the end of the world into a bore, offering rapturous images and music but no comfort, redemption or engaging characters or ideas. [Read](https://www.hollywoodreporter.com/news/general-news/melancholia-cannes-2011-review-189745/)
- **The New York Times**, A.O. Scott (NYT Critic’s Pick): The critic finds the film a personal, sincere apocalypse that registers difficult emotions intimately through close-ups rather than mass panic. It leaves an aesthetic glow despite its bleakness, suggesting the end of the world might be beautiful. [Read](https://www.nytimes.com/2011/11/11/movies/lars-von-triers-melancholia-review.html)
- **The Wrap** (85/100, inferred): The critic, a non-fan of von Trier, is surprised by how accessible and moving Melancholia is, calling it the director's film for people who dislike his previous work. They single out the jaw-dropping visuals and the riveting performances of Kirsten Dunst and Charlotte Gainsbourg for particular praise. [Read](https://www.thewrap.com/melancholia-lars-von-trier-movie-people-who-hate-lars-von-trier-movies-32654/)
- **Den of Geek**, Ryan Lambie (4/5): The critic praises the film's meditative take on depression through an apocalyptic scenario, highlighting Kirsten Dunst's immaculate performance as Justine and the film's exploration of melancholy's true nature. [Read](https://www.denofgeek.com/movies/melancholia-review/)
- **Digital Spy**, Ben Rawson-Jones (4/5): The critic calls the film stunning and aesthetically dazzling, praising its focus on the human condition and Dunst's engrossing performance as the depressed Justine, while noting minor flaws like shaky camerawork. [Read](https://www.digitalspy.com/movies/a341990/melancholia-review/)
- **Collider**, Matt Goldberg (B): The review praises the film's grand visuals, ideas about happiness and depression, and Dunst's standout performance while noting it fails to forge an emotional connection with the audience. It criticizes the cold, academic distance despite the weighty themes. [Read](https://collider.com/melancholia-movie-review/)
- **Eye for Film**, David Graham (35/100, inferred): The critic finds the film an occasionally fascinating but generally alienating study of clinical depression and reactionary panic. They single out the visual style and child character's perspective for limited praise while complaining that the characters are one-note, the drama flaccid, and the experience exhausting. [Read](https://www.eyeforfilm.co.uk/review/melancholia-film-review-by-david-graham)
- **Paste**, Emily Kirkpatrick (8.7): The review hails the film as a visually stunning and emotionally powerful portrait of depression and human frailty under apocalypse, subverting dichotomies of life and death. It singles out the beautiful prologue and nuanced study of the two sisters' contrasting responses. [Read](https://www.pastemagazine.com/movies/melancholia)

## Details

- **Director:** Lars von Trier
- **Director:** Lars von Trier
- **Screenplay:** Lars von Trier
- **Cinematography:** Manuel Alberto Claro
- **Editor:** Molly Malene Stensgaard
- **Production design:** Jette Lehmann
- **Costume design:** Manon Rasmussen
- **Producer:** Louise Vesth, Meta Louise Foldager
- **Cast:** Kirsten Dunst as Justine; Charlotte Gainsbourg as Claire; Kiefer Sutherland as John; Alexander Skarsgård as Michael; Cameron Spurr as Leo; Stellan Skarsgård as Jack; John Hurt as Dexter; Brady Corbet as Tim
- **Runtime:** 2h 16m
- **Certificate (MPA):** R
- **Release (the US):** 11 November 2011
- **Genres:** Drama, Science Fiction
- **Budget:** $7 million
- **Box office:** $16 million
- **Trailer:** https://www.youtube.com/watch?v=7mjWS3xKWBc

## Where to watch in the US

- Tubi: free
- Amazon Prime Video: add-on
- Amazon Prime Video: rent $2.99, sd
- Apple TV: rent $3.99, hd
- Apple TV: buy $4.99, hd
- Amazon Prime Video: buy $9.99, sd

*Checked 2026-09-15.*

Also available in: AR, AT, AU, BR, CA, CH, CL, CO, CZ, DE, DK, FI, GB, IE, IL, MX, NL, NO, NZ, PA, SE, US. Add `?region=XX` to this URL for another country.

## Awards

- Bodil Award for Best Cinematographer 2012: Bodil Award for Best Cinematographer (won)
- Bodil Award for Best Danish Film 2012: Bodil Award for Best Danish Film (won)
- Robert Award for Best Actress in a Leading Role 2012: Robert Award for Best Actress in a Leading Role (won)
- Robert Award for Best Actress in a Supporting Role 2012: Robert Award for Best Actress in a Supporting Role (won)
- Robert Award for Best Cinematography 2012: Robert Award for Best Cinematography (won)
- Robert Award for Best Danish Film 2012: Robert Award for Best Danish Film (won)
- Robert Award for Best Director 2012: Robert Award for Best Director (won)
- Robert Award for Best Editing 2012: Robert Award for Best Editing (won)
- Robert Award for Best Production Design 2012: Robert Award for Best Production Design (won)
- Robert Award for Best Screenplay 2012: Robert Award for Best Screenplay (won)
- Robert Award for Best Sound Design 2012: Robert Award for Best Sound Design (won)
- Robert Award for Best Visual Effects 2012: Robert Award for Best Visual Effects (won)
- European Film Award for Best Actress 2011: European Film Award for Best Actress (nominated)
- European Film Award for Best Cinematographer 2011: European Film Award for Best Cinematographer (won)
- European Film Award for Best Director 2011: European Film Award for Best Director (nominated)
- European Film Award for Best Editor 2011: European Film Award for Best Editor (nominated)
- European Film Award for Best Film 2011: European Film Award for Best Film (won)
- European Film Award for Best Production Designer 2011: European Film Award for Best Production Designer (won)
- European Film Award for Best Screenwriter 2011: European Film Award for Best Screenwriter (nominated)

## If you liked this

- *Safe* (1995): Another retreat from ordinary life, with illness making familiar surroundings feel quietly hostile.
- *The Sacrifice* (1986): A household faces possible annihilation, with room for faith, fear and difficult silences.
- *Last Night* (1998): The end of the world leaves ordinary people making awkward, recognisable choices.
- *Take Shelter* (2011), Fi1m 83: Dread enters a family home, and certainty becomes something nobody can afford. — [Fi1m page](https://film.one/film/take-shelter.md)
- *The Green Ray* (1986): For another woman struggling to feel what everyone insists she should.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/melancholia