Lars Von Trier’s epic ode to depression and the end of the world – perhaps one and the same – opens with Richard Wagner’s Prelude to Tristan and Isolde playing over a series of breathtaking, beautiful and perfectly composed shots that at first appear to be stills until you realize they are moving in ultra slow motion. With the hauntingly operatic music full of swooning lilts and gasping rises into the stratosphere, Von Trier symbolically (and in some shots literally) transmits what we are about to experience. The slow motion represents the trudging through emotions while the music elicits thoughts of a great tragedy about to befall us all. And then boom! – he lays all of his cards right on the table as we watch in simultaneous horror and joy as two worlds collide. It’s an eerily quiet yet emotionally bombastic counter action to Terence Malick’s creation of the universe sequence in The Tree of Life. Both films, operating at opposite poles and giving us glimpses into the vast outward expanse of human imagination through the precipitous downward spiral into the mind and madness of one, are miraculous masterpieces.