Directed by:
Lars von TrierScreenplay:
Lars von TrierCinematography:
Manuel Alberto ClaroCast:
Charlotte Gainsbourg, Stellan Skarsgård, Shia LaBeouf, Stacy Martin, Jamie Bell, Connie Nielsen, Mia Goth, Sophie Kennedy Clark, Christian Slater (more)VOD (1)
Plots(1)
Wild and poetic story of a woman’s erotic journey from birth to the age of 50 as told by the main character, the self-diagnosed nymphomaniac, Joe. On a cold winter’s evening the old, charming bachelor, Seligman, finds Joe beaten up in an alleyway. He brings her home to his flat where he tends to her wounds while asking her about her life. He listens intently as Joe over the next 8 chapters recounts the lushly branched-out and multi faceted story of her life, rich in associations and interjecting incidents. (Shear Entertainment)
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Reviews (11)
Not completely... but still very promising. Humorous and dark stories from life are sometimes shocking, as some comparisons can be. Von Trier by the way explains the secret of good fly fishing. Maybe it’s due to heavy producer’s cutting, but Nymph()maniac doesn’t (yet) seem like an over the top erotic movie, but a study of female sexuality presented in a fresh and entertaining way. The audience at the movie theater laughed at the right places (situations that are funny if they aren’t happening to you) and jumped in shock several times, but during the nympho scenes, nobody was offended, on the other hand they probably weren’t disappointed, either. The acting can’t be faulted at all. A top-notch cast dominated surprisingly by the young Stacy Martin (who looks exactly like a classmate from college) rather than by Charlotte Gainsbourg, but it’ll probably be the other way round in part two. In the supporting roles, Uma Thurman draws attention with her flawless creation of a perfect wife and Christian Slater in the role of the kind daddy. So far intriguing and it looks like it’s going to get even more so. Zwei Bilder nur ein Rahmen... Ein Körper doch zwei Namen... Zwei Dochte eine Kerze... Zwei Seelen in einem Herzen...
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I don't know what I was expecting, whether something more controversial, more interesting, or simply something that would give a person more. The topic interests me quite a bit, but I much preferred the way Steve McQueen captured it in Shame. Lars von Trier has been showing off basically since the first shot, trying to be artistic, but somehow it's all the same and in his films, it's been that way already. Moreover, from this author, I expected something grittier. There are shots you won't see in a normal movie, but nothing too surprising. The second part promises more, so we'll see.
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For the moment, some indecision about the latest “controversial” prank by Lars. The individual stylistically different chapters are effective, from the depressive Delirium to the almost grotesque (and the most fun) Ms H., with Uma Thurman. But what really annoyed me was the binding conversation between Gainsbourg and Skarsgård, it feels as if they’re talking at cross purposes all the time. It’s drowning in shallow allegories and metaphors, which Trier shows way too literally on top of that. Some of those allegories are so stupid that I have no choice but to consider them as intentional mockery of the philosophers and intellectuals who love to connect the unconnectable, find meaning where there is none, and find profound truths in the likening of a sexual train trip to fishing. Here they don’t need to look for anything because Trier has found it for them, and everything is so explicitly shown, from the fish in the river to the graphic representation of the golden ratio. I believe that he is now laughing and singing something along those lines. If I’m wrong, he’s gone mad. Let’s see what Volume 2 brings.
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A very nice ironic comedy of life. There’s no controversy, no implausible fabrication, just life as it is. I like this movie better and better each time I watch it. An utterly irresistible listener could be none other than Stellan Skarsgård, and the young Stacy Martin is sexy in every shot. I must also praise Christian Slater, but the absolute most epic performance is by Uma Thurman, who brought totally absurd theatrics to this setting. The Director's Cut maintains the same dramatic arc in each chapter, but the eroticism is logically more explicit and therefore more believable. And yet, through it all, Delirium remains the most powerful experience, the only chapter without a major sexual motif.
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Interrupted masturbation. There are basically two ways to read this metaphor. 1. Being pulled out from deep fascination with watching the volatile dialogue of an aging cultural man (Seligman) and an impulsive, animal woman (Joe), who describes to him her sexual maturation with an emphasis on earthiness, while he places details full of vaginal secretions in a network of parallels, archetypes and classical art procedures. 2. Interruption of Lars von Trier's directorial masturbation. The third sinner in a bizarre psychoanalytic session is undoubtedly the Danish enfant terrible, who exposes the meanings and his directing method to the viewer. Shia LaBeouf's penis is not the "most explicit" component of Nymphomaniac: Vol. I. The most explicit component is the way in which Trier consistently turns the challenging theme into the ancient genre of Bildungsroman, which, following the example of old texts, reveals in the introduction what the next chapter will be about, what the viewer will learn from it, and with what intention the narrator tells it. A quirk? Certainly. Does it work? Not always. Since there is no point in evaluating the fragments that Trier ingeniously assesses during the ENTIRE narrative. I will just stick to the fact that this public masturbation, which does not avoid excess, but at the same time has a sometimes surprisingly tame and cultured effect on Danish conditions, has my focused attention for the next two hours.
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