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.
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.
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.
Joe continues to tell to Seligman the story of her life. Joe lives with Jerôme and their son Marcel and out of the blue, she loses sexual sensation in intercourse. Joe seeks kinky sex, perversions and sadomasochism expecting to retrieve her sex drive. Jerôme leaves home with Marcel and gives his son to a foster house for adoption. Then Joe is sent to therapy by her gynecologist but she does not admit that she is addicted to sex. Meanwhile Seligman tells Joe that he is virgin and helps her to understand her actions. Joe believes that Seligman is her friend, but is he?Written by
Claudio Carvalho, Rio de Janeiro, Brazil
P's earring disappears and reappears throughout her argument with Joe over the gun. See more »
Freud says the opposite. He talks about the polymorphic perversion of a child. Meaning that in a child, all kinds of perversions exist. And then we use the childhood to diminish or remove some of them. Basically a child is sexually polymorphic and everything is sexuality in an infant.
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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 were performed by body doubles." See more »
Lars von Trier. If you know the name then you're aware of the avant-garde, ambiguous style he produces in every feature film he's made. Nymphomaniac, with its two parts and 240 minute running time, has its cast practicing real sex acts. It's the sole reason why this film has garnered so much attention. Overlooked is everything else in between. Joe (Gainsbourg) tells her tale of emotional and physical highs and lows to Seligman (Skarsgard), a dutiful, friendly fellow that helps her after an assault. Her life's story is split up into metaphorical chapters, from the moment she finds her sexuality as a young girl, up to present day. Gainsbourg is a fine example of ideal casting, looking the part before baring any skin. Her story telling is clunky and disjointed. Lars von Trier's scriptwriting is dry, elusive and as ambiguous as a white canvas. The C word's blurted out more times by Gainsbourg than seen, grating like nails on a chalkboard. The acting's authentic, by all accounts (most notable is Stacy Martin playing young Joe), but only when dialogue is absent (Shia LaBeouf's accent is diabolical). The scenes that contain nudity represent nymphomania. Porn's toes are not being trod on. Nymphomaniac's easier to digest than other LvT films. Some viewers may feel short changed and a little underwhelmed, both physically and emotionally, by the end.
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