A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits the town, she finds out that their support has a price. Yet her dangerous secret is never far away.
Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed.
A man named Seligman finds a fainted wounded woman in an alley and he brings her home. She tells him that her name is Joe and that she is nymphomaniac. Joe tells her life and sexual experiences with hundreds of men since she was a young teenager while Seligman tells about his hobbies, such as fly fishing, reading about Fibonacci numbers or listening to organ music.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Even though the film has not indicate the year, the mise en scène places the story in the early 1970s.
Some cars that weren't in the production until the mid-1980s were visible in the parallel parking scene: Rover 800 (production started in 1986), third-generation Audi 100 (1982-1991), Volvo 245 (updated taillamps from 1981 onward), and second-generation Volkswagen Jetta (1984-1992).
The type of external rear-view mirrors and bumpers on Jaguar XJ driven by Jerôme (Shia LeBeouf) indicates a Series III (1979-1992) while the period-correct Jaguar XJ (Series I or II) should have chrome mirrors and bumpers. See more »
[to her children, referring to Joe's bedroom]
Let's go see daddy's favorite place!
See more »
Near the very end of the credits there is this disclaimer: "None of the professional actors had penetrative sexual intercourse and all such scenes where [sic] performed by body doubles." See more »
The director's cut adds roughly 28 minutes of footage, expanding some of the subplots. See more »
OK, I admit it, you had me at "Nymphomaniac"...but honestly, the swelling of certain extremities normally associated with the anticipation such a title would evoke, left immediately when I heard LeBeuf speak.The accent he used wasn't even questioned by the director? Did the director actually watch any scenes on playback? Are we to believe that a nymphomaniac believes themselves to be worthless humans? Now, I tried to reserve judgement until I had watched both...a considerable task when one isn't even interested after the "end" of the first trainwreck. I will keep my opinion about the "artistry" to myself. This movie had potential and obviously budget to make a strong impression, but all it did was come off as predictable and a bit antagonist toward conventional morality...maybe that was the point, but again, no comment on the artistic content. It was poorly executed and excruciatingly drawn out. The end was almost a relief...even mildly amusing. Both main characters displayed canned hypocrisy throughout and I would guess that to be another part of the "art" content....once again, no comment. Don't waste your time. Sex is fun and simulated sex isn't...especially when the simulation paints sex to be so.....well, no comment.
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