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
In the scene in Chapter Two where Joe compares her genitalia to automatic doors, some archive footage of leaves blowing towards a set of automatic doors is shown. This footage is from Lars von Trier's The Kingdom (1994). See more »
Even though the film does 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 tail lamps 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 »
Very little art in a movie that would be boring if it didn't have so much sex.
Contrary, perhaps, to the majority of the public, I decided to see this film because of the name of its director, Lars von Trier. If I liked "Antichrist", I don't know yet very well what to think about this film. The script is the story of a woman who calls herself a nymphomaniac, but whose pursuit of pleasure seems to have taken her too far, to the point that she also wants to believe that she's a lousy human being. When she is found fainted after a beating, she decides to tell her life to the nice man who helped her. From there, the film unfolds into two intercommunicating ways: the dissolute life of this girl, Joe, and the exchange of comments between her and the good Samaritan, Seligman, who insists on not seeing her alleged perversity.
The film is absolutely loaded with explicit sex, with genitals close ups and penetration scenes. Von Trier remains faithful to the rule of showing everything that is spoken. So this movie requires you to be, at least, able not to be scandalized by that. On the other hand, sex scenes are so cruel and insensitive that you probably will not take any pleasure in watching it. This is not a porn movie made for us to get excited, but the idea is to get the opposite effect: like Joe, we don't feel anything. Emotionally violent, the film raises constant moral and ethical issues regarding religion, psychology, relationships, etc.
Charlotte Gainsbourg has done well enough in this film, although its not the best performance of her career, and the same can be said about Stellan Skarsgård. Their performances seemed too warm and very monotone, and their dialogues range from obscenity to the monotony of the most sterile philosophical discussions. In contrast, Joe and Seligman could not be on more opposing poles: She's a girl who lives to feed her sexual addiction, in a way that we would find dirty and reprehensible; Seligman is absolutely pure and innocent, inasmuch as he does nothing wrong, he is a virgin and lives in a world of books, theories and classical music. Uma Thurman seems to be in the middle. She is the most violent and intense actress in the film, in that she plays the betrayed woman, a person just like any of us, who saw her life being destroyed by a lolita. And so, the emotive and explosive way as she behaves comes closer to us than any other character.
I liked the actors and the way they worked, I think it suits the movie and the characters they gave them. I liked the way the theme was presented, with the sinner making a confession in a repentant way to a man who seems to be above mortals. But the movie is damaged by the absence of art, by the monotony of the dialogues, by the perversion of sex and the omnipresence of pointless sex scenes all over.
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