Author Topic: NYMPH()MANIAC  (Read 56336 times)

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Axolotl

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Re: NYMPH()MANIAC
« Reply #150 on: March 09, 2014, 04:07:38 PM »
0
I liked the latter half even more.
Why is it a stupid provocation, what response do you think it tries to provoke?

Drenk

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Re: NYMPH()MANIAC
« Reply #151 on: March 09, 2014, 04:29:59 PM »
+1
SPOILERS

The discussion about the word "negro", the ending with P. and Jerôme (seriously? they introduce her twenty minutes before the end and she randomly fucks Jerôme in front of Joe?), and the last minute. But ultimately, I thought that the broken narrative - or I don't know how to call it - wasn't as good. That Joe wasn't interesting anymore. The emptiness of her vagina was similar to the emptiness of my implication. The movie makes fun of itself ("It was your least interesting digression"), the running gag of the symbol in the room that is linked to Joe's story, after three hours, isn't a gag anymore.

Vol I showed Joe growing up, her understanding of her sexuality. But I don't buy the message - if there is a message - about the link between death and sexuality; I hated the chapter of her father's death...What did you make of Joe's story?
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Cloudy

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Re: NYMPH()MANIAC
« Reply #152 on: March 12, 2014, 12:01:26 AM »
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Lars Von Trier’s Racy ‘Nymphomaniac’ Gets Two-Part Release From Magnolia
BY MIKE FLEMING JR | Deadline
   
After much foreplay in the form of increasingly graphic trailers that to me skate the edges of pornography, the release plan for Lars von Trier‘s Nymphomaniac has come together. Magnolia Pictures has announced that von Trier has cut his work into two films. The first, Nymphomaniac: Part One, will open in theaters March 21 after premiering on-demand March 6. This will climax in the April 18 release of the second film, which first will be on-demand April 3.

Anyone know whether both films will be out at the same time in theaters? From the reactions here, seems like it makes sense to watch them in one viewing.

Axolotl

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Re: NYMPH()MANIAC
« Reply #153 on: March 12, 2014, 06:47:40 AM »
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I think there should be another thread where people who've seen both parts can discuss spoilers till more people can see it legally

Drenk, I didn't think that was a gimmick, that's just some digressionary fun. He used about as many external parallels as the ones he found in the room.
The movie making fun of itself is a criticism? I could picture him writing something, thinking it was boring, glossing over it by a meta-comment because he nonethless thought the digression was important in some way. It's not really funny or amusing, but it's one self-reference that didn't work in four hour film with dozens of them that do.

<SPOILERS>

About the "negro" part. I thought that wasn't controversial at all. I seperate what a character says with what the filmmaker genuinely believes. She's someone who left her child alone to get snm'd up at some old decrepit building and later leaves him altogether. Makes sense she'd exoticize people from a place that might as well be another universe for her. That sequence with the two black guys was her objectifying them and in turn wanting to be objectified by them.

The scene in the alley at the end being random. I thought the scene with Jerome and P was perfectly in tune with the skewed reality of the film upto that point. What doesn it symbolize? Maybe that growing old is way harder for women than for men. Jerome's attractiveness only increases as he grows older and accumulates wealth, while Joe's doesn't in the eyes of most men. Maybe that was P's response to a self-serving intrusion into her life by Joe.

</SPOILERS>

Joe's was a story of a woman who's not bound by any morality in her refusal to tame her nature. The things she does were amoral for anyone, but downright Satanic in the eyes of society because she was a woman. Most dominant societal structures post-dark ages have been reliant on pleasure denial to establish control. Sexual pleasure has been considered a sin unless it serves a function other than pleasure- making babies.(By the way, what's the link between mirrors and intercourse? They both increase the number of people in the world by creating uncanny replicas) Even more sinful is female pleasure. Look at the history of female circumcision- remove a woman's clitoris so that she can't experience sexual pleasure, removing any incentive to cheat on her husband.

I look forward to the discussions when more people have seen it. People should have a lot to say about this, whether they like it or not.

Drenk

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Re: NYMPH()MANIAC
« Reply #154 on: March 12, 2014, 12:38:34 PM »
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SPOILERS VOL I AND II


I was just taking as example the meta-commentary about the digression, but Vol II, as a whole, was never funny. Except the gang-bang. Vol I had the fishing analogy, the 3+5 suite (I don't remember how it's called), MAXIMA VULVA, Uma fucking Thurman. It was better at using different chapters. What I miss at the end is a connection with the characters; everything they say is as serious as the negro thing, some kind of bullshit philosophy. I think LVT is just messing around. He thought about the form but didn't really care about his characters. She stops having orgasms because she's not connected to the world anymore?

I did not see the hate of her sexuality in the movie. The mirror is sexual because she would see her body. And her body is sexual. She's always lived her sexuality, and men, always, were excited. Jerôme is excited about her fucking him. She isn't anymore. She lost the taste of sex. Why? Because she feels guilty? The Antichrist moment is about the guilt, I guess. But the child doesn't die this time...
Yeah, ultimately I don't get Joe and it means anything to me; that's why, even if I can appreciate the movie because the form is great, I don't think it's great. But I have this issue with LVT in general.
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03

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Re: NYMPH()MANIAC
« Reply #155 on: March 12, 2014, 07:28:36 PM »
+2
i will elaborate on this later, but i just finished my second viewing and want to keep things fresh, outside of shoutbox.

this movie is his masterpiece. it is his epic.
it is also his most accessible outside of maybe dancer in the dark because of how plainly laid out and non confusing that one is.

this movie is important to me beyond all others because as most oldschoolers here know, im a bit sex obsessed.

 i am an actual nymphomaniac, beyond all male arrogant posturing, i literally cannot stop having sex. i have a chemical addiction to peptide phenethylamine. this movie captures that feeling in the most honest and disgustingly truthful way possible. the way i live is basically no one will ever be good enough, no one will ever truly satisfy. and as baller as it sounds, it is fucking hell, every minute of the day. it is genuinely to live in the moment and have it pass for infinity. constantly seeking. and as gay as some of you want to make it, i relate to her character more than any man i've seen in film.

Axolotl

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Re: NYMPH()MANIAC
« Reply #156 on: March 13, 2014, 05:22:51 AM »
+6
i am an actual nymphomaniac
It's called satyriasis in men nymphomania in women.

And priapism was what you had a few days ago

Mel

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Re: NYMPH()MANIAC
« Reply #157 on: March 20, 2014, 05:34:12 AM »
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Not sure where it should go: here or second part should have separate thread? Anyway trailer for Volume II:

Simple mind - simple pleasures...

wilder

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Re: NYMPH()MANIAC
« Reply #158 on: March 22, 2014, 12:11:43 AM »
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I just saw Part I and am psyched on it. What an original movie. I'm holding off on reading most of your reviews until after I experience Part II next week, but the first half has to be my favorite Lars movie since Breaking the Waves. And Skarsgard is comedy.

wilder

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Re: NYMPH()MANIAC
« Reply #159 on: March 22, 2014, 04:26:24 PM »
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Cast interviews:








samsong

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Re: NYMPH()MANIAC
« Reply #160 on: March 23, 2014, 06:17:09 AM »
+3
i watched both volumes in one sitting (i can't imagine seeing it any other way, really) and will join the others in considering this a milestone in von trier's body of work.  (his masterpieces prior to this for me are the idiots, breaking the waves, and dogville.)  it's the culmination of everything he's done in his career up until this point, and it seems almost worth having put up with antichrist and melancholia for us to get this.  of the depression trilogy, this is the only one that truly expresses something about the experience of depression outside of just overt outward emoting.  perhaps a revisit is in order but those to strike me as high school creative writing exercises wherein  the emotions were too immediate and severe to the point of compromising any lucid thought/understanding.  it's also fun to see von trier really wearing his influences on his sleeve, even more so than usual here.  apart from the depth, the heavy shit, the brecht-by-way-to-scandanavia provocations and devices, this is just a ferociously entertaining movie.  among the most unsettling absurdist comedies i've come across.  can't wait to watch it again.

wilder

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Re: NYMPH()MANIAC
« Reply #161 on: March 23, 2014, 05:29:26 PM »
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it's the culmination of everything he's done in his career up until this point, and for me it seems almost worth having put up with antichrist and melancholia for us to get this.

From the above interview with Skarsgard, breaking down LVT's process. It reminds me of what it seems PT has been gradually working towards in his own way, synthesizing Cassavetes' interest in spontaneity with the more technically sophisticated craft of other directors he admires:

How has Trier's directing style changed over the years?

I worked with him with his first feature film after he gave up total control. His first five feature films was total control - he designed every movement of the actors and everything, and they were technically brilliant and of course dead. When I saw his first film Element of Crime in a festival, I said "I’d like to work with this director when he gets interested in people". And it took him some years, but then he realized it himself, and with The Kingdom he sort of broke up this ‘total control’ thing and realized that he could actually get real life on the screen if he let the actors go.

And when we did Breaking the Waves, which was a very thought-out script — I called it ‘The Raiders of the Lost Ark’ in terms of melodrama because every scene was like a peak scene in a dramatic film….if he hadn’t let the actors be more free and create more life you would have felt the structure of it and then it wouldn’t have worked as well. He spent all those years taking away his own tools. The Dogme manifesto - it’s a very personal thing, it’s not a manifesto ‘this is the way films should be made’, it’s about him taking away his own tools and reducing everything to…eventually gets all the way down to Dogville which is just: a text, an actor, and fucking shoot it, and that’s what he did. And when we did Dogville, you see that the story in itself is so strong that it actually works. And then you have actors that bring life to it and that are not trying to do “great performances” but are just trying to bring life to it — and then you photograph it, and it works.

So he has been reducing his tools throughout the years, and then, lately, he has started using his knowledge again of sort of more traditional filmmaking, and made a beautiful film like Melancholia — and on this film we didn’t even have handheld camera we had tripod and tracking. […] After giving up his tools for many years he’s now bringing them back again. But now without constraining the actors.

Pubrick

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Re: NYMPH()MANIAC
« Reply #162 on: March 23, 2014, 11:28:07 PM »
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That's the most succinct summary of LVT's career I've ever read.

Obviously Skarsgard understands better than anyone, having worked with him so much, he's LVT's PSH.

More than that, they clearly share a similar approach to their craft: While LVT wants to remove all his tools, Skarsgard wants to remove all his clothes.
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picolas

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Re: NYMPH()MANIAC
« Reply #163 on: March 24, 2014, 12:33:18 AM »
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i truly do not understand the overwhelmingly positive response to this. i love lars but this was his most sub par, boring movie by a mile. the ending felt as though it was ghostwritten by a toddler. i swear i'm not trolling. i just don't understand why people would value this on the same level as his other work. uma's great, though.

edit: tired. more detail later

Jeremy Blackman

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Re: NYMPH()MANIAC
« Reply #164 on: March 25, 2014, 10:35:23 PM »
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Technical note for people who haven't yet seen it: I rented Vol 1 through YouTube and it was kind of a garbage deal. 780p that occasionally gets pixelated, and I must have had 6 load screens, on a 30 megabit connection. I guess I'll try Amazon for the second part.

It wasn't quite clicking for me until the cutaways and diagrams reached a saturation point, and then the music sequence was like this blast of brilliance, and the way Vol 1 ended was perfect. So far it's kind of missing that Von Trier edge, but that seems to be promised in Vol 2. Withholding judgment.

I absolutely love Shia LeBeoueaf in this role. He's playing to type.
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