---
product_id: 5702269
title: "Melancholia"
price: "NT$876"
currency: TWD
in_stock: true
reviews_count: 7
url: https://www.desertcart.tw/products/5702269-melancholia
store_origin: TW
region: Taiwan
---

# Melancholia

**Price:** NT$876
**Availability:** ✅ In Stock

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- **What is this?** Melancholia
- **How much does it cost?** NT$876 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.tw](https://www.desertcart.tw/products/5702269-melancholia)

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## Description

In this beautiful movie about the end of the world, Justine (Kirsten Dunst) and Michael (Alexander Skarsgerd) are celebrating their marriage at a sumptuous party in the home of her sister Claire (Charlotte Gainsbourg), and brother-in-law John (Kiefer Sutherland). Despite Claire's best efforts, the wedding is a fiasco, with family tensions mounting and relationships fraying. Meanwhile, a planet called Melancholia is heading directly towards Earth MELANCHOLIA is a psychological disaster film from director Lars von Trier.

Review: A brilliant movie made for too narrow a demographic, apparently, which is very discouraging. - After reading other reviews of this movie, it's difficult to know how to react. I get no joy from bashing others for anything except who they voted for in the last election, so I will say just that clearly, we all seem to agree that this movie definitely does appeal to a certain demographic, and definitely does not appeal to a certain other demographic. I come at this from a fairly unique perspective: I'm an astrologer (not by profession because it just does not call me to get paid for it, but I could get paid for it.). I am also a highly-sensitive person, which is a) a real thing (you'll find books on it right here on desertcart) and b) not a disorder and c) while this type of person is predisposed to depression more than someone who isn't an HSP, depression does not necessarily go hand in hand with it. So NO, you do not have to have experience with depression to enjoy this movie as some have said – that’s RIDICULOUS. You just have to be a bit on the deep and existential end of the psychological and philosophical continuum. Anyway, perhaps my astrology knowledge and the spiritual views this has created in me lets me see these scenes differently from most. This is a movie about how knowing the certain end is ahead of you affects the psyches of the people involved and how they deal with the impending end of everything and everyone. It does not matter that these characters are rich, and that alone should not exclude treating them like people in your minds (again, reflecting other reviews I read). I think they’re wealthy with everything we value on Earth going for them in order to illustrate that when the ending comes, it comes for all, and at the time of the total destruction of the planet, nobody will be saved by how much money they have. Yes, Kirsten Dunst's character is deeply depressed, but it's being rather pedestrian to not see the reason. She is aware because she has heightened sensitivity that causes her to feel this planet -- she has something of a kinship with it -- that it is coming to destroy everything. The scene in which she basks naked under its glow is meant to reflect her energetic resonance with it. She’s comfortable, even ecstatic, under its influence. Think of what you might do under the sun and why if nobody was watching, and that might accurately reflect why she is lying naked on rocks basking in the glow of Melancholia. It's not random and it was not just an excuse to get a nude shot of Dunst into the movie. Because Mel is coming to destroy everything, nothing in her life that she's held as meaningful is meaningful anymore. She's has episodic, existential depression in the beginning, and by the way, good luck not having any yourselves if this situation were to happen in real life. She had an important, prestigious job but worked for an appalling man for whom she had no respect, and like so many of us, had to put on a lot of masks to make that work. She's gotten married to a cute guy whom she cares about but this marriage too was probably a choice made to please others (Alexander Skarsgard plays her fiance/husband of ten seconds. "True Blood" fans will know as "Eric," the Viking vampire). With no future ahead of them, it has no MEANING; she's going through with the party because her brother-in-law (Sutherland) paid for it (he doesn't let anyone forget this for a second) and can't get his money back. All the masks come off, the wall of illusion crashes, because there simply is no REASON to maintain them anymore. At the wedding reception, which is about to happen as the film opens, everyone is aware that this planet is headed toward Earth, but not everyone is of the same mind as to whether or not it will make impact or pass close by, especially Dunst's wealthy scientist brother-in-law who has his own special brand of denial going happening. By the end of the movie, everyone has dealt with it in a way that makes sense for who they are. I can take up more space talking about how beautifully shot this was, but that’s been said. I can’t see anyone who thinks deeply and sees life for what it is not appreciating this film, and if that’s not you, that’s fine, just be a student of life and the world at least enough to not say things like “Maybe it’s for you if you have experience with depression.” It’s just an incredibly shallow view of life and other people. It's not for people with major depressive disorder only because YOU don't get it, you just don't get it.
Review: Behold; the Death-Star! - `Melancholia' is a film that is going to be extremely divisive. Not everyone is going to appreciate this, and yet there are going to be some that laud this as one of the finest films ever made. I can certainly see its flaws, and yet there is this underlying captivating atmosphere that I can't help but wholly appreciate. `Melancholia' is a unique and engrossing experience that is less what it seems and more what you'd come to expect from an auteur as controversial as Lars von Trier. The opening montage of cataclysmic destruction plays out like a Vogue editorial shoot captured in slow motion. It seems almost anticlimactic to show us the end before the beginning, and while I understand that this cinematic trick (or gimmick) is initially rather off-putting and presumes to fail the overall purpose of the film somewhat by showing us the cause of concern before we truly understand the concern building in the key characters, it works in a way that I can't quite explain. I personally was rather upset with the sequence upon watching it, but as the film tied itself together I found myself calling it to mind with awe for I saw how the pieces of that puzzle came together in an unexpected way. And, one cannot forsake its beauty. And then the actual film starts, which is broken into two sections. The first part of `Melancholia' focuses on Justine, the bride. Her lavish wedding begins with promise. Her `filthy rich' brother-in-law has paid for the spectacle to take place at his gigantic home, complete with a butler, an 18 hole golf course and a slew of guest rooms (with baths, not showers). The joyous couple show up late, thanks to an oversized limo and some narrowly curved roads, and then all joy seems to evaporate as Justine's intense depression sets in and begins to erode her happiness. Everyone around her fails to understand her condition, even though most of them try (especially her groom and her sister). Justine seems bewitched by a red star she seems looming overhead; a star that goes unseen by the others. This star sets a strange precedent for the remains of the evening as Justine's behavior becomes more reclusive and catatonic almost. Bridges are burned, relationships are broken all hope is lost. The second half switches focus to Claire, the elder sister. While Justine is certainly suffering from depression, Claire begins to delve into paranoia as the impending collision with the mysterious planet Melancholia grows closer and closer. They don't ever say how much time as elapsed since the wedding, where that `star' first reared its head, but Justine is still sulking in misery and the agitation she caused on that `blessed day' obviously still lingers. "It tastes like ashes." With only five days left before Melancholia is supposed to `pass' Earth, Claire and Justine begin to come to terms with the inevitabilities of their futures. At the core of `Melancholia' is a sharply constructed look at mental instability and the effect it has on our own personal survival. Justine's character is of particular interest because her depression, which is initially assumed to stem from the planet traveling towards Earth, is almost eased by the foreknowledge that the end is coming. She possesses a unique bond with the planet, a connection (as seen by her nude moon-bathing) that helps ease her dissention since she is obviously of the accord that life on Earth is corrupted; infected with an evil that, even in its most unintuitive form is still prevalent and contaminating. For her, eradication is a way out of a life she cannot support. From a technical standpoint, `Melancholia' is something special. The imagery is stunning. Lars von Trier has a great track record of using a film's cinematography to eclipse the viewer and sustain his themes. `Antichrist' was a film that suffered in conception and yet it was sustained to a degree thanks to the beautiful and captivating way in which it was shot (not to mention Gainsbourg's phenomenal performance). Here, the night sky is illuminated by cascading stars and eerily shifted cloud structures. Even the murky yet polished way in which the close-ups are rendered is astonishing to watch. I was really taken by the nostalgic score, one that embodied the same sound and atmosphere as the classic apocalyptic and science fiction films. The drama is there, bolded with each swell in the music. Performance-wise, the film belongs to Kirsten Dunst. She is remarkable here. This is a truly restrained and intimate performance, no real showboating or dramatics involved. Instead, Dunst takes a far more realistic look at depression by holding it all in. Sure, she has her crying fits and breakdowns, but she internalizes so much. I'm so happy for her Cannes win, especially since Oscar will most likely look the other way (they like their actresses to SHOW their pain), but I completely concur with many who say this is quite possibly her finest work. She has been one of my favorite actresses for years, and I am so thrilled to see her making some intriguing and rewarding film choices (she should have won the Oscar last year for her tremendous work in `All Good Things'). I also was wholly impressed with Kiefer Sutherland, who dwelled in the skin of his character, adding little touches that made him feel complete as opposed to a mere prop (unlike the younger Skarsgard, who just proved uninteresting). Kiefer portrays an odd warmth, paternal and yet elusively selfish. You can see his colors changing as the film progresses, and his many shades, while never blatant or wholly exposed, haunt long after he's left the screen. In the end, `Melancholia' is probably the strangest `apocalyptic' film you'll ever see, and while it contains certain flaws, those flaws are swallowed and digested by the films ravenous pluses. The pacing is extraordinary (don't listen to the naysayers claiming this film drags, for it most certainly does not) for it allows the impending dread to set it slowly, meticulously, calculated and yet entirely natural so that you feel yourself letting go as you watch Justine and Claire prepare themselves for the afterlife.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B006KH6CF4 |
| Actors  | Alexander Skarsgard, Charlotte Gainsbourg, Kiefer Sutherland, Kirsten Dunst |
| Best Sellers Rank | #17,688 in Movies & TV ( See Top 100 in Movies & TV ) #2,698 in Drama DVDs |
| Customer Reviews | 4.2 4.2 out of 5 stars (3,488) |
| Director  | Lars von Trier |
| Is Discontinued By Manufacturer  | No |
| Item model number  | MGNO10447DVD |
| MPAA rating  | R (Restricted) |
| Media Format  | AC-3, Closed-captioned, Color, Dolby, Multiple Formats, NTSC, Subtitled, Widescreen |
| Number of discs  | 1 |
| Product Dimensions  | 0.7 x 7.5 x 5.4 inches; 2.4 ounces |
| Release date  | March 13, 2012 |
| Run time  | 2 hours and 15 minutes |
| Studio  | Magnolia Home Ent |
| Subtitles:  | Spanish |

## Product Details

- **Contributor:** Alexander Skarsgard, Charlotte Gainsbourg, Kiefer Sutherland, Kirsten Dunst, Lars von Trier
- **Format:** AC-3, Closed-captioned, Color, Dolby, Multiple Formats, NTSC, Subtitled, Widescreen
- **Genre:** Science Fiction & Fantasy
- **Language:** English
- **Runtime:** 2 hours and 15 minutes

## Images

![Melancholia - Image 1](https://m.media-amazon.com/images/I/91-Mpz+m91L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ A brilliant movie made for too narrow a demographic, apparently, which is very discouraging.
*by N***. on November 30, 2016*

After reading other reviews of this movie, it's difficult to know how to react. I get no joy from bashing others for anything except who they voted for in the last election, so I will say just that clearly, we all seem to agree that this movie definitely does appeal to a certain demographic, and definitely does not appeal to a certain other demographic. I come at this from a fairly unique perspective: I'm an astrologer (not by profession because it just does not call me to get paid for it, but I could get paid for it.). I am also a highly-sensitive person, which is a) a real thing (you'll find books on it right here on Amazon) and b) not a disorder and c) while this type of person is predisposed to depression more than someone who isn't an HSP, depression does not necessarily go hand in hand with it. So NO, you do not have to have experience with depression to enjoy this movie as some have said – that’s RIDICULOUS. You just have to be a bit on the deep and existential end of the psychological and philosophical continuum. Anyway, perhaps my astrology knowledge and the spiritual views this has created in me lets me see these scenes differently from most. This is a movie about how knowing the certain end is ahead of you affects the psyches of the people involved and how they deal with the impending end of everything and everyone. It does not matter that these characters are rich, and that alone should not exclude treating them like people in your minds (again, reflecting other reviews I read). I think they’re wealthy with everything we value on Earth going for them in order to illustrate that when the ending comes, it comes for all, and at the time of the total destruction of the planet, nobody will be saved by how much money they have. Yes, Kirsten Dunst's character is deeply depressed, but it's being rather pedestrian to not see the reason. She is aware because she has heightened sensitivity that causes her to feel this planet -- she has something of a kinship with it -- that it is coming to destroy everything. The scene in which she basks naked under its glow is meant to reflect her energetic resonance with it. She’s comfortable, even ecstatic, under its influence. Think of what you might do under the sun and why if nobody was watching, and that might accurately reflect why she is lying naked on rocks basking in the glow of Melancholia. It's not random and it was not just an excuse to get a nude shot of Dunst into the movie. Because Mel is coming to destroy everything, nothing in her life that she's held as meaningful is meaningful anymore. She's has episodic, existential depression in the beginning, and by the way, good luck not having any yourselves if this situation were to happen in real life. She had an important, prestigious job but worked for an appalling man for whom she had no respect, and like so many of us, had to put on a lot of masks to make that work. She's gotten married to a cute guy whom she cares about but this marriage too was probably a choice made to please others (Alexander Skarsgard plays her fiance/husband of ten seconds. "True Blood" fans will know as "Eric," the Viking vampire). With no future ahead of them, it has no MEANING; she's going through with the party because her brother-in-law (Sutherland) paid for it (he doesn't let anyone forget this for a second) and can't get his money back. All the masks come off, the wall of illusion crashes, because there simply is no REASON to maintain them anymore. At the wedding reception, which is about to happen as the film opens, everyone is aware that this planet is headed toward Earth, but not everyone is of the same mind as to whether or not it will make impact or pass close by, especially Dunst's wealthy scientist brother-in-law who has his own special brand of denial going happening. By the end of the movie, everyone has dealt with it in a way that makes sense for who they are. I can take up more space talking about how beautifully shot this was, but that’s been said. I can’t see anyone who thinks deeply and sees life for what it is not appreciating this film, and if that’s not you, that’s fine, just be a student of life and the world at least enough to not say things like “Maybe it’s for you if you have experience with depression.” It’s just an incredibly shallow view of life and other people. It's not for people with major depressive disorder only because YOU don't get it, you just don't get it.

### ⭐⭐⭐⭐⭐ Behold; the Death-Star!
*by A***N on October 26, 2011*

`Melancholia' is a film that is going to be extremely divisive. Not everyone is going to appreciate this, and yet there are going to be some that laud this as one of the finest films ever made. I can certainly see its flaws, and yet there is this underlying captivating atmosphere that I can't help but wholly appreciate. `Melancholia' is a unique and engrossing experience that is less what it seems and more what you'd come to expect from an auteur as controversial as Lars von Trier. The opening montage of cataclysmic destruction plays out like a Vogue editorial shoot captured in slow motion. It seems almost anticlimactic to show us the end before the beginning, and while I understand that this cinematic trick (or gimmick) is initially rather off-putting and presumes to fail the overall purpose of the film somewhat by showing us the cause of concern before we truly understand the concern building in the key characters, it works in a way that I can't quite explain. I personally was rather upset with the sequence upon watching it, but as the film tied itself together I found myself calling it to mind with awe for I saw how the pieces of that puzzle came together in an unexpected way. And, one cannot forsake its beauty. And then the actual film starts, which is broken into two sections. The first part of `Melancholia' focuses on Justine, the bride. Her lavish wedding begins with promise. Her `filthy rich' brother-in-law has paid for the spectacle to take place at his gigantic home, complete with a butler, an 18 hole golf course and a slew of guest rooms (with baths, not showers). The joyous couple show up late, thanks to an oversized limo and some narrowly curved roads, and then all joy seems to evaporate as Justine's intense depression sets in and begins to erode her happiness. Everyone around her fails to understand her condition, even though most of them try (especially her groom and her sister). Justine seems bewitched by a red star she seems looming overhead; a star that goes unseen by the others. This star sets a strange precedent for the remains of the evening as Justine's behavior becomes more reclusive and catatonic almost. Bridges are burned, relationships are broken all hope is lost. The second half switches focus to Claire, the elder sister. While Justine is certainly suffering from depression, Claire begins to delve into paranoia as the impending collision with the mysterious planet Melancholia grows closer and closer. They don't ever say how much time as elapsed since the wedding, where that `star' first reared its head, but Justine is still sulking in misery and the agitation she caused on that `blessed day' obviously still lingers. "It tastes like ashes." With only five days left before Melancholia is supposed to `pass' Earth, Claire and Justine begin to come to terms with the inevitabilities of their futures. At the core of `Melancholia' is a sharply constructed look at mental instability and the effect it has on our own personal survival. Justine's character is of particular interest because her depression, which is initially assumed to stem from the planet traveling towards Earth, is almost eased by the foreknowledge that the end is coming. She possesses a unique bond with the planet, a connection (as seen by her nude moon-bathing) that helps ease her dissention since she is obviously of the accord that life on Earth is corrupted; infected with an evil that, even in its most unintuitive form is still prevalent and contaminating. For her, eradication is a way out of a life she cannot support. From a technical standpoint, `Melancholia' is something special. The imagery is stunning. Lars von Trier has a great track record of using a film's cinematography to eclipse the viewer and sustain his themes. `Antichrist' was a film that suffered in conception and yet it was sustained to a degree thanks to the beautiful and captivating way in which it was shot (not to mention Gainsbourg's phenomenal performance). Here, the night sky is illuminated by cascading stars and eerily shifted cloud structures. Even the murky yet polished way in which the close-ups are rendered is astonishing to watch. I was really taken by the nostalgic score, one that embodied the same sound and atmosphere as the classic apocalyptic and science fiction films. The drama is there, bolded with each swell in the music. Performance-wise, the film belongs to Kirsten Dunst. She is remarkable here. This is a truly restrained and intimate performance, no real showboating or dramatics involved. Instead, Dunst takes a far more realistic look at depression by holding it all in. Sure, she has her crying fits and breakdowns, but she internalizes so much. I'm so happy for her Cannes win, especially since Oscar will most likely look the other way (they like their actresses to SHOW their pain), but I completely concur with many who say this is quite possibly her finest work. She has been one of my favorite actresses for years, and I am so thrilled to see her making some intriguing and rewarding film choices (she should have won the Oscar last year for her tremendous work in `All Good Things'). I also was wholly impressed with Kiefer Sutherland, who dwelled in the skin of his character, adding little touches that made him feel complete as opposed to a mere prop (unlike the younger Skarsgard, who just proved uninteresting). Kiefer portrays an odd warmth, paternal and yet elusively selfish. You can see his colors changing as the film progresses, and his many shades, while never blatant or wholly exposed, haunt long after he's left the screen. In the end, `Melancholia' is probably the strangest `apocalyptic' film you'll ever see, and while it contains certain flaws, those flaws are swallowed and digested by the films ravenous pluses. The pacing is extraordinary (don't listen to the naysayers claiming this film drags, for it most certainly does not) for it allows the impending dread to set it slowly, meticulously, calculated and yet entirely natural so that you feel yourself letting go as you watch Justine and Claire prepare themselves for the afterlife.

### ⭐⭐⭐⭐⭐ Review
*by L***I on September 13, 2025*

"La vita sulla Terra è cattiva. Nessuno la rimpiangerà se finisce". In questa frase c'è tutto il film. Eppure proprio la consapevolezza del male di vivere rende Justine, la sorella depressa e anticonformista, forte di fronte al disastro. Capace, a differenza di Claire la sorella forte e tradizionalista, mostrare al nipotino che l'amore può essere l'arma migliore per affrontare le catastrofi. Grande film

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