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Lars von Trier's final film in his trilogy of depression presents sexual liberation in the form of a troubled nymphomaniac, Joe, portrayed by Charlotte Gainsbourg, a recurrent actress in the trilogy. Her performance, the wonderful work by von Trier himself, and a stand out performance by Stellan Skarsgard bring a triumphant ending to the successful trilogy.
When I first heard news of the film I was very skeptical, for it is not a film which is easy to approach. However I found myself enticed by the idea, and as a fan of both Antichrist (2009) and Melancholia (2011) I concluded it would not be right not to view the film. I must stress, it is very important to view the film as intended by the director, though the film has been split into two volumes, the film should be seen in a single viewing as to fully grasp a central response (sic). The film tells the tale of Joe, a nymphomaniac found beaten in the street by Seligman, a recluse, the two engage in a conversation in which Joe tells the events leading up to her beating. My preconceptions of the film, that it would be a crude attempt to remove sexual taboo, were mistaken. The film is very elegant in the way in which it deals with these topics, though the images may be taken as crude, or controversial, the concept of the film goes deeper into what these images mean, we begin to see different emotions through sex. von Trier manages to portray the meaning, or lack of meaning in sex profoundly, and deserves merit for doing so.
The film also takes on many philosophical elements, the pieces of the jigsaw like plot which seem to gravitate towards Joe's father in particular. The beautiful photography by Manuel Alberto Claro manages to capture the beauty of nature and instinct throughout the film, whilst being obviously reminiscent of von Trier's Dogma '95. The scenes concerning Joe's childhood stand out for me as some of the most beautifully shot footage of 2013, and a clear reference to Carl Theodor Dreyer's Ordet (1955) is made during the hospital scene. Aside from the representation of nature, the photography presents almost newfound iconography concerning sexuality, and how to discover one's self, in a rejection of taboo that allows the camera to rediscover the human form as it has never been allowed to before. The idea of sexuality in cinema is often seen as cheap, however in this film it is taken to new levels, and explored, this film shows what sexual freedom on camera could look like.
The film also has deeply feminist messages, especially the dramatic close to the film. It shows the "power of a woman" as Joe puts it, and shows the troubles a woman who strives to be seen equal to a man must go through. Joe's pain, her loss, her guiltless pleasure is presented not as wrong but as bold, as a shining example of what women should be able to do just as freely as men. The voice of women in society is seen in the sound of this film, reminiscent of Bergman in some respects as it is scarcely used, however when it is it is violent, elegant, striving to be seen. The film manages to convey the sexual liberation not only of cinema, but of women, through a story seen as so daring simply due to the gender of the protagonist. von Trier addresses this problem head on, and though sometimes the messages are put across in an almost pretentious manner, he manages to convey them. To call this film controversial due to it's plot, or message, is misogynistic, it is a film to be held up as truly feminist.
Nymphomaniac (2013) is a film I would recommend to all those who wish to see a new, interesting, and quite wrongly daring film. Though it is surrounded by controversy do not allow this to distort how you see the film, or prevent you from viewing it. The film is remarkable and a triumph of femininity, of representation, and von Trier is beautiful in his craftsmanship. This could cement the belief that von Trier is the next great Scandinavian director.
Nymphomaniac (2013)
Lars von Trier's final film in his trilogy of depression presents sexual liberation in the form of a troubled nymphomaniac, Joe, portrayed by Charlotte Gainsbourg, a recurrent actress in the trilogy. Her performance, the wonderful work by von Trier himself, and a stand out performance by Stellan Skarsgard bring a triumphant ending to the successful trilogy.
When I first heard news of the film I was very skeptical, for it is not a film which is easy to approach. However I found myself enticed by the idea, and as a fan of both Antichrist (2009) and Melancholia (2011) I concluded it would not be right not to view the film. I must stress, it is very important to view the film as intended by the director, though the film has been split into two volumes, the film should be seen in a single viewing as to fully grasp a central response (sic). The film tells the tale of Joe, a nymphomaniac found beaten in the street by Seligman, a recluse, the two engage in a conversation in which Joe tells the events leading up to her beating. My preconceptions of the film, that it would be a crude attempt to remove sexual taboo, were mistaken. The film is very elegant in the way in which it deals with these topics, though the images may be taken as crude, or controversial, the concept of the film goes deeper into what these images mean, we begin to see different emotions through sex. von Trier manages to portray the meaning, or lack of meaning in sex profoundly, and deserves merit for doing so.
The film also takes on many philosophical elements, the pieces of the jigsaw like plot which seem to gravitate towards Joe's father in particular. The beautiful photography by Manuel Alberto Claro manages to capture the beauty of nature and instinct throughout the film, whilst being obviously reminiscent of von Trier's Dogma '95. The scenes concerning Joe's childhood stand out for me as some of the most beautifully shot footage of 2013, and a clear reference to Carl Theodor Dreyer's Ordet (1955) is made during the hospital scene. Aside from the representation of nature, the photography presents almost newfound iconography concerning sexuality, and how to discover one's self, in a rejection of taboo that allows the camera to rediscover the human form as it has never been allowed to before. The idea of sexuality in cinema is often seen as cheap, however in this film it is taken to new levels, and explored, this film shows what sexual freedom on camera could look like.
The film also has deeply feminist messages, especially the dramatic close to the film. It shows the "power of a woman" as Joe puts it, and shows the troubles a woman who strives to be seen equal to a man must go through. Joe's pain, her loss, her guiltless pleasure is presented not as wrong but as bold, as a shining example of what women should be able to do just as freely as men. The voice of women in society is seen in the sound of this film, reminiscent of Bergman in some respects as it is scarcely used, however when it is it is violent, elegant, striving to be seen. The film manages to convey the sexual liberation not only of cinema, but of women, through a story seen as so daring simply due to the gender of the protagonist. von Trier addresses this problem head on, and though sometimes the messages are put across in an almost pretentious manner, he manages to convey them. To call this film controversial due to it's plot, or message, is misogynistic, it is a film to be held up as truly feminist.
Nymphomaniac (2013) is a film I would recommend to all those who wish to see a new, interesting, and quite wrongly daring film. Though it is surrounded by controversy do not allow this to distort how you see the film, or prevent you from viewing it. The film is remarkable and a triumph of femininity, of representation, and von Trier is beautiful in his craftsmanship. This could cement the belief that von Trier is the next great Scandinavian director.