NR, 117 min.
Director/Writer: Lars von
Trier
Starring: Charlotte
Gainsbourg, Stellan Skarsgård, Stacy Martin, Shia LaBeouf, Christian Slater,
Uma Thurman, Sophie Kennedy Clark, Connie Nielsen, Ananya Berg
I’m not really sure what I
was expecting from Lars von Trier’s latest controversial epic, the two-part “Nymphomaniac”.
I suppose I was expecting something a little more sexually harsh, like Vincent
Gallo’s “The Brown Bunny” or von Trier’s own “Antichrist”. “Nymphomaniac”,
however, is a much more sympathetic portrait of sexual deviancy, at least
throughout the first volume.
The film stars Trier
favorites Charlotte Gainsbourg as the titular nymphomaniac and Stellan Skarsgård
as a man who finds her beaten in the street one evening. He takes her home and
hears her story, trying to convince her that she is not the bad person she
thinks. Told in flashback, Vol. 1 contains her younger years, where Stacy
Martin plays her as a teen and young adult. She explains how sex had started
out as some sort of game played between her and her best friend, first
exploring masturbation and then moving on to keeping score of their conquests.
Her obsession with sex lives long beyond the friendship, however, and painfully
avoids the emotions of love. Although, love does enter into one relationship,
which seems to keep pulling her back in.
Often when sex is explored
as the primary subject of a film, it feels at times like pornography, whether
it is intended to be or not. I think when trying to portray the act as purely
as possible, directors often let their artistic license get the best of them
and slip into more pornographic nature than is intended. I suppose Trier is
just as guilty of that as any serious film director, yet I never felt like that
was the case with these characters. Gainsbourg and Skarsgård do such a
remarkable job guiding her story with their own emotions that at no point does
the movie lose sight of their presence. This is an examination by them, looking
back at her past. He never judges, although she seems to want him to. It is alluded
to that he’ll find reason to in Vol. 2.
I think their performances
are the key to making this story work, although Martin and Shia LaBeouf make
for steady leads to present her story. LaBeouf seems like he could become too
imposing a presence at first, but his role shifts in her eyes at one point,
which is a gesture LaBeouf helps to sell remarkably well. The story leaves the
audience at a place where we can accept a break, and I suspect the second half
will bring a darker tone to her sexuality.
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