The first few minutes of Lars von Trier’s genre-defying film Melancholia do what so few films in recent memory have done: celebrate the unexpected. A woman in a bridal dress? Birds falling slowly to earth and horses collapsing on their rear ends? A dark planet drifting through space? The “Liebestod” from Wagner’s Tristan und Isolde playing in the background? And it’s all shot in super slow motion. Later on, these seemingly disparate elements will begin to make sense, but they ultimately leave the viewer in a state of quiescent post-contemplation, never clarifying their intentions with semaphores.