The End of the World as Lars von Trier Knows It

As a fan of Lars von Trier, Charlotte Gainsbourg, and pretty much any “wedding movie” with a dark premise (don’t ask), I’m excited about this. Salon writer Drew Grant already referred to it as Rachel Getting Married meets Donnie Darko,” which seems fair, at least from this trailer.

Either way, von Trier’s upcoming film Melancholia looks like a departure in story/plot for him, while still retaining that “beautiful-but-uncomfortable-and-slightly-ridiculous” quality he (usually) pulls off so well.

The Wikipedia page for this movie says:

Trier has said that he considers all of his previous films to end happily, and that this will be the first with an unhappy ending.

Oh yes, of course, because Dancer in the Dark was basically the Wizard of Oz of our time. I wouldn’t expect anything less from this smart ass, insane, and genius filmmaker.

Sunday Brief: On Sweets, ‘Marie Antoinette’

Is Sofia Coppola’s Marie Antoinette partially responsible for the recent “cupcake backlash” and the macaron trend storming in?

Regardless, finding pictures of Marie Antoinette-clad Kirsten Dunst surrounded by expensive French sweets has been a casual fascination of mine for quite a few years now…Is that strange?

Favorites Revisited #2: Revamped Camp (or, Why You Hate ‘Marie Antoinette’)

Here’s why there are more people who hate Sofia Coppola’s “Marie Antoinette” than those who love it – You don’t know what it is.

I’m not trying to be condescending here, but it’s the truth. Whenever I hear someone go on about why they didn’t like the film, it’s along the lines of: “What is this movie, with no story and bare minimum dialogue and 80s post-punk music over an 18th century setting and cakes and macrons everywhere? It must just be a movie aching for a Costume Design Oscar.”

I’m writing this post to tell you that the movie is none of those things. Well, I mean, those things are definitely big parts in the movie, but that’s not what it is. I’ll tell you what “Marie Antoinette” is – Camp. It might be obvious to some, but more often than not, I think people are confused about what the film is trying to do or be. But trust me, it’s easier to like it when you look at it for what it is: aesthetic-centered, revamped Camp set in 18th century Versailles.

Don’t believe me? To keep things brief and avoid long-winded-ness, I’ll list some points from the Encyclopedia of Camp – Susan Sontag’s “Notes on Camp”:

1. To start very generally: Camp is a certain mode of aestheticism. It is one way of seeing the world as an aesthetic phenomenon. That way, the way of Camp, is not in terms of beauty, but in terms of the degree of artifice, of stylization.

5. Camp taste has an affinity for certain arts rather than others. Clothes, furniture, all the elements of visual décor, for instance, make up a large part of Camp. For Camp art is often decorative art, emphasizing texture, sensuous surface, and style at the expense of content. Concert music, though, because it is contentless, is rarely Camp. It offers no opportunity, say, for a contrast between silly or extravagant content and rich form. . .

38. Camp is the consistently aesthetic experience of the world. It incarnates a victory of “style” over “content,” “aesthetics” over “morality,” of irony over tragedy.

And finally…

13. The dividing line seems to fall in the 18th century; there the origins of Camp taste are to be found (Gothic novels, Chinoiserie, caricature, artificial ruins, and so forth.) But the relation to nature was quite different then. In the 18th century, people of taste either patronized nature (Strawberry Hill) or attempted to remake it into something artificial (Versailles). They also indefatigably patronized the past. Today’s Camp taste effaces nature, or else contradicts it outright. And the relation of Camp taste to the past is extremely sentimental.

I would like to let these definitions speak for themselves and draw their own connections. I believe Coppola’s portrayal of Marie Antoinette as a 1980s post-punk rock Material Girl is the essence of modern Campiness drawing on the past – as Camp tends to do (see #13). And the past of Versailles was almost too perfect to serve as the Camp backdrop.

That’s not to say that Coppola’s film is cinematically irrelevant. (And for me, this is where it gets touchy.) Of course one of the main purposes of the film is to be pretty. That’s Coppola’s whole film outlook – prettiness, shots through blades of grass, and Kirsten Dunsts lying outdoors in rustic white nightgowns. That’s what Coppola does. She cares about the beauty aesthetic. She chose film over the practical digital camera for Lost in Translation because digital wasn’t “romantic” enough. She wants to portray beauty and pretty things. Sorry, not to generalize here, but the men I’ve talked to don’t necessarily love this because they’re not used to it. Because 98% of the films we see are and have been made by men, not “girly” women like Sofia Coppola. Hell, who are we kidding? They’re hardly made by women period. But this aesthetic outlook should not be undermined in terms of art. Coppola said it best herself in her own defense: “You’re considered superficial and silly if you are interested in fashion, but I think you can be substantial and still be interested in frivolity.”

But back to Camp in particular – I think this whole explanation of what the film’s going to do is laid out right in front of us from the very opening shot. A French maid puts on Marie Antoinette’s shoes while the Queen sits amongst tables of cakes. The last we see of this shot is Kirsten Dunst licking cake off her finger and looking straight into the camera – breaking the fourth wall – with a devilish schoolgirl smirk. There it is. Right there. The whole film’s purpose revealed to us in one moment, and we missed it or forgot about it.  “The joke’s on you,” Sofia Coppola seems to say. The joke’s on you.