"Depression is an offended deity" C. G. Jung For me, Lars von Trier's film "Melancholia" is an excellent example of European psychological cinema. It is surprising that complex taboo topics are strength to reveal to directors suffering from depression, such as Ingmar Bergman or Lars von Trier. I would like to consider “Melancholia”, as a film in which the main place is given to depression “melancholy”, in the framework of analytical psychology of C. G. Jung, where Nigredo (lat. . Nigredo) the experience of darkness, depression is the most important stage (element) of development without which it is impossible to achieve selfhood, the hellish cauldron in which the heroine Justine connects with her Anima and individuates, according to Jungian analysis, if more energy accumulates in the Shadow. contains the Ego, melancholy begins. In melancholy there are no desires, which is clearly demonstrated in the second part of the film, when Justine tries the meatloaf prepared by her sister. Desires are our guidelines, removing which we can only trust the will of the elements of painful insensibility. In the first part of the film we see the other side of interpsychic depression, the heroine does not live in harmony with the experiences of the soul. The heroine's life is blocked, succumbing to archaic fears, like the limousine in which she rides with her fiancé at the beginning of the film. A luxurious wedding, a castle and a limousine, a loving groom and a crowd of guests, as the plot develops, it turns out to be Justine’s internal contradiction, the desire to avoid confrontation with the Persona and at the same time to separate from her parents. The heroine has a hard time with people, she craves solitude, but we see her among the crowd of guests, where the director skillfully emphasizes the details, and we see the heroine deprived of family, friendship and professional support. The first half of life, according to Jungian analysis, is devoted to the Ego; in the second part, you will have to meet the Shadow and become holistic, and in the most favorable version, individuate. A person is not real, it is a contract between a person and society. Having access to the resources that are in our Shadow is always difficult; the Ego is too small to accommodate such power. In the first part of the film, the heroine finds out who she really is and comes into contact with the inner male image of her own mother. The mother is negative, terrible, so we can see the inner image of the heroine. The shadow part is represented by the negative mother complex. Jung believed that when a person is in a hopeless situation or experiences an internal conflict for which he cannot find a solution, this very moment can indicate the beginning of the individuation process. The situation at this level has no solution, which the director perfectly demonstrated in the first part of the film. The illusions of family, future marriage and success are crumbling, all attempts to do anything are wrong and cause pain to the heroine. The hopeless situation is arranged by the Anima, as a kind of conductor of the soul, the heroine approaches selfhood, and the adoption of the internal image of the Animus according to Jung allows the girl to become a woman. The very image of the planet Melancholy, a blue luminous ball, which symbolically appears from behind the Moon (alchemical mother silver) behind which hid for a long time, but at a certain moment came out and headed towards the Earth in the “dance of death” trajectory. As Melancholia approaches the Earth, metamorphoses begin to occur with the heroine, the unconscious works more and more intensely, and depression becomes part of individuation, a symbol of the destruction of the old world and the achievement of integrity and freedom. My personal conviction is that “Melancholia” is the brightest part of Trier’s trilogy, contrary to popular belief, for me the second part is a story about individuation, if about death, then about symbolic, or rather about the initiation of a girl into a woman, the story of which is continued in “ Nymphomaniac.” In 2011, while watching a film in the cinema, I encountered a religious feeling well known to me from the films of Tarkovsky and Bergman, for me the film “Melancholia” by Lars von Trier.