Two of modern cinema's most renowned directors will be releasing new films this November. David Cronenberg's "A Dangerous Method" will have its American debut on Nov. 23, while Lars von Trier's "Melancholia" will open in theaters on Nov. 11. This makes November a particularly rich month for film buffs around the country, since both directors have earned much acclaim for their edgy, thought−provoking productions. Cronenberg and von Trier both emerged as relatively controversial directors whose films unflinchingly examined masochism, voyeurism and the darker aspects of the human condition.
"Melancholia" and "A Dangerous Method" seem to be logical extensions of these core themes. While "A Dangerous Method" explores the formative stages of psychoanalysis and Carl Jung's tutelage under Sigmund Freud, "Melancholia" depicts the apocalypse from the perspective of a disenchanted fiancee on the night of her wedding. Both films earned much praise after their exhibition at various international film festivals, and many fans eagerly anticipate their American release.
Of the two directors, David Cronenberg has evolved the most over the course of his career. A few of his first films, such as "The Brood" (1979) and "Scanners" (1981), are now classified as B horror pictures, although their shared focus on bodily transformation would be expanded and deepened over the course of his subsequent work.
Cronenberg's first big financial success was his poignant remake of "The Fly" (1958), which was released in 1986. The impressive details of the film proved Cronenberg could deftly mix his penchant for horror and gross−out moments with taut screenwriting and poignant character development. His releases since 2000 have been more psychologically oriented with less horror, and include the critically acclaimed films "A History of Violence" (2005) and "Eastern Promises" (2007). "A Dangerous Method" continues Cronenberg's trend of making more approachable, incisive psychological portraits. Early screenings of the film have earned widespread praise for the work of Michael Fassbender (Jung), Viggo Mortensen (Freud) and Keira Knightly, whose volatile performance as Sabina Spielrein reveals her aptitude for more challenging dramatic roles.
Von Trier's career is widely varied, ranging from comedies like "The Boss of It All" (2006) to brooding tragedies like "Antichrist" (2009). Given the scope of von Trier's output, it is more difficult to discern any overarching trajectory of his work or even decide on its major themes. While depression and estrangement are frequently addressed through von Trier's films, they are usually dealt with in widely different ways, depending on the film. "Melancholia," however, bears a great stylistic resemblance to "Antichrist." Both films reportedly open with poetic, slow−motion montages that detail a central calamity which provides the drama for the rest of the film.
In recent interviews, von Trier stated that "Melancholia" opens with a depiction of the world ending, essentially telling the audience how the story concludes. Von Trier is interested in showing how certain people coped with the prospect of their impending deaths within the context of a secluded villa in the countryside.
Given the dark subject matter of Cronenberg and Trier's films, it is remarkable they get such widespread distribution. Both directors have their work screened across Europe and the United States, in addition to distribution in even more exotic locales. Their ability to portray commercially unfriendly topics while retaining larger appeal has put them in a relatively small echelon of directors. This unique reputation has made the release of the films anticipated by independent film buffs worldwide. Since both films have been premiered at European film festivals well in advance of their American release dates, the public's expectations are all the more great.
So, if you're in the mood for a dark exploration of humanity's less pleasant sides, "Melancholia" and "A Dangerous Method" are this month's must−see films.
