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
Originally, this and Nymphomaniac: Vol. II (2013) were shot as one movie and originally intended to be released as one cut. Due to its length, it was split into two movies. See more »
When Joe parks Jerome's Jaguar (after Jerome failing to do so), the shot from the outside shows that the car is parked between two other cars, one in front and one behind theirs. When however, the shot changes to the back seat towards the front, we see that there is no car in front, just empty road. See more »
During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher.
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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 »
This is actually the first time I'm writing a review online and it's because I do feel the need to evacuate that horrid impression the movie left on me. (well the part one, because I haven't seen all of the second yet, and I don't think I will; I HATE Joe's and Seligman's dialogue too much!)
Dialogue movies are often my favorite, when it's clever and funny and human. When it truly touches you. But this.... WOW, how BAD is it?!?!?!! It's seriously so annoying and boring and even frustrating, because you have to endure those pretentious interruptions all the freaking time, it is SO painful!
If we could have only seen the explorations of Joe by itself, with only Joe's character talking, it could have been a lot better. Not necessarily a great movie, but it would have been a lot more interesting and better put together. It's mostly their dialogue that is so hard to listen to, it is so bad, I literally don't have any words to depict how amateurish and just plain boring it is. I feel like Lars Von Trier, whom I will nevertheless forever love for Dogville, has attempted to somehow pastiche Tarantino, but has failed dramatically.
I don't feel the movie was a complete waste of time, I did enjoy the beginning on the train ride, and I did think at first that I was going to love the movie. But the constant back and forth from Seligman and Joe, and the images shown as they were speaking, were just too much to handle to make the movie enjoyable, even watchable.... It's really hard on me not to watch a movie until the end, but I feel like I've just seen wayyyyy enough of this one.
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