Entertaining Nymphomatics

Entertaining Nymphomatics
Entertaining Nymphomatics

Video: Entertaining Nymphomatics

Video: Entertaining Nymphomatics
Video: Top 10 Facts About Nymphomaniacs — TopTenzNet 2024, March
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Morality and mockery, alternating, diluted the scenes of the pornographic nature of the 5.5-hour new film by Lars von Trier "Nymphomaniac", the slogan of which calls to forget about love.

Entertaining nymphomatics
Entertaining nymphomatics

The film was released in Russian in a cut-off version in two parts with a three-week break. A number of scandalous scenes did not appear on the screen, but there are plenty of those in the shortened version. The real revelation was not they, but the fact that "Nymphomaniac", positioned as a movie of a pornographic nature, turned out to be devoid of erotic attraction and funny. The point is not in the naturalistic style of scenes characteristic of the genre, which Trier easily succumbed to - the obsession with sex in the film becomes only a topic of conversation, an illustration of the lines of the main character Joe and in itself loses its provocative acuteness, turning into a personal and further - a social problem. The virgin intellectual Seligman (Stellan Skarsgård) found Joe (Charlotte Gainsbourg) officially diagnosed as nymphomania on his way out of the bakery. He brought the girl, beaten half to death, to his home and gave her tea and milk. In response to the kindness, the girl agreed to tell what happened to her and how she came to such a life. They seemed to be the perfect conversationalists and had every chance of helping each other to understand something important. The film develops in the manner of a classic novel with lyrical digressions, where one character tells the story of his life to another, although the manner of performance with video collages and vulgar cut-in clips cannot be called such.where one character tells the story of his life to another, although the manner of performance with video collages and vulgar inserts-clips cannot be called such.where one character tells the story of his life to another, although the manner of performance with video collages and vulgar inserts-clips cannot be called such.

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For Seligman, the confession of a guest is a lesson in a new subject for him, which he masters, building an associative array from a field of culture familiar to him. The juxtapositions are unexpected, shocking, or hilarious. Fibonacci numbers, Bach polyphony, fishing tricks come to the aid of Seligman in the process of immersion in the fascinating world of nymphomania. Joe's shocking stories seem to him fascinating puzzles from the Entertaining Mathematics textbook, which he must certainly solve. Joe is doubtful about the arguments of the interlocutor justifying her behavior, although she herself is not averse to resorting to the help of botany: her best sedative is an old children's herbarium and a park where her father introduced her to the world of trees, she compares lovers with the habits of animals in wildlife, and the quality inspiration resorts to the same method of association,starting from the few objects in the ascetic room (cell) of Seligman. In the instructive manner of the storytelling lies the director's mockery of the audience, the characters and the Nymphomaniac itself, but thanks to this (including self-) irony of the author, the long and densely loaded with reflections the film looks in one breath until the most dexterous and masterful in its predictability finale.

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The provocativeness of "Nymphomaniac" reveals many complex social and philosophical topics, such as sin, dissatisfaction, loneliness, inner freedom, motherhood (the scene with Joe's son is a clear reference to "Antichrist"), are tested for the strength of the boundaries of what is permitted. But Trier's amazing ability to speak out about the human with the utmost truthfulness this time is masked by hysterical humor. So, one of the brightest scenes of the first part of the film with the participation of the heroine Uma Thurman, who showed up at Joe's apartment with her children and her husband in order to hand him over to her mistress from hand to hand, and defending her family with a predatory grin, like Neytiri (the heroine of Avatar), turns into pure farce. But suddenly, after a loud laugh, it becomes sad and uncomfortable. And the corners of home furniture for a long time cause a ridiculous feeling of shame and danger. Lars von Trier deftly manipulates the viewer, involving him in a multidimensional conversation, in which, like in a minefield, philosophical laugh-traps are hidden. Countless number of sexual acts, positions, male members and orgasms. “I don’t feel anything,” young Joe (Stacy Martin) cries frantically. And you?

The story of Nymphomaniac has been continued in the form of collections of instructive (or not so) illustrations. A marketing campaign for the film spawned a series of photographs of symbolic objects, a poster of the cast who had lost all shame. And finally, a series of portraits of stars frozen in ecstasy. The wave of orgasm has spread to film critics all over the world - Danish, Hungarian, Polish, Russian. And viewers around the world - see Instagram photos with the hashtag #nymphomaniac. Innocent (for the most part sterilized) European cats also fell under fire from cameras and a passion of love, although in the credits of "Nymphomaniac" it is emphasized that none of the animals was hurt.

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Danish film critics Polish film critics

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Hungarian film critics

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Russian film critics

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Seals of Valaar Morgulis But Lars von Trier continues to remain silent after this, being true to the vow made after the 2011 Cannes scandal.