Impossible? Well, this is what Lars Von Trier achieves in "Melancholia"; the dogged adherence to social tradition explored by Thomas Vinterberg's drama is successfully blended with Tarkovsky's bleak existential contemplation of annihilation.
The glue that binds is melancholia or loss of purpose. Justine's deteriorating condition is disfunctional only within the regularities of a human sphere. However, as everything is placed under an ever-increasing threat from the approach of a rogue planet, her disconnection from normal social and emotional concerns becomes a strength rather than a weakness and indeed the only rational response to such a disaster. Justine makes one final gesture of reconciliation; she constructs of a "Magic Cave" to reassure her nephew and calm her, by now, hysterical sister. In doing so, she makes up for all the previous pain: when all Earthly life is about to end there is no time left to qualify our relationships.
In her depression, Justine believes the Earth is evil; others would project their fears on to the planet named after the title of the film. In truth, these worlds simply exist, journeying through space until a chance encounter destroys them both ... Von Trier's beautiful film reminds us the event would hold no significance without the value we attach to our relationships, our consciousness of nature in general, and thus to life itself.