Nymphomaniac Volumes I & II Directors Cut [DVD]

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Hoberman, J. (26 March 2014). "Sex: The Terror and the Boredom". The New York Review of Books . Retrieved 15 August 2014. We also get more explicit looks at the character’s early travails. The train tryst before offers up some hardcore results now, while the work of Stacy Martin continues to amaze. While Charlotte Gainsbourg gets all the accolade, her younger costar is the one whose truly brave. Even with a “porn double” and a prosthetic vagina, she puts herself out there in every scene, coming across as the title concept with true hunter/gatherer urgency. Similarly, her effect on the men she meets suggests an internal heat that entraps both the person and their propensities. While age definitely dims some of this aggression, the movie makes it clear that it still remains there, like a slumbering giant. Gainsbourg and Martin further revealed that prosthetic vaginas and closed sets were used during filming. Martin stated that her acting experience for the film was enjoyable and, after explaining that the film's characters are a reflection of the director himself, referred to the process as an "honour." [22] Martin also stated that shooting the sex scenes was a bit boring due to their technical nature. [23] Music [ edit ] After Seligman explains how he feels Bach perfected polyphony, Joe uses his example to talk about three lovers leading up to her " cantus firmus". The "bass voice", F ( Nicolas Bro) is a tender but predictable man who puts her sexual needs above his own. The "second voice", G (Christian Gade Bjerrum), thrills Joe because of his animalistic control of her in bed. During one of Joe's regular walks in the local park, Jerôme finds her after separating from Liz, a coincidence Seligman finds preposterous, and they embrace. As the two engage in authentically passionate sex – set alongside Joe's experiences with F and G – Joe becomes emotionally distraught when discovering she can no longer "feel anything".

A JOYOUS WORK OF FLAT-OUT GENIUS. It’s a blast, full of life and energy and ideas and humor and sexy naked bodies." Nymphomaniac glamorizes the syndrome as much as Melancholia did depression or Antichrist did grief. Yet in the original cut, it looked like Joe paid little personal price outside of the constant harangues and hate she received from the women whose men she stole (including that great scene with Uma Thurman). David Stratton (22 March 2014). "Lars vonTrier's Nymphomaniac explores sexual deviations". The Australian . Retrieved 22 March 2014. In my review of the theatrical cut of Nymphomaniac, I mentioned that it was not likely a movie (or movies, as even this 'Extended Director's Cut' remains separated into two distinct volumes) I would have a desire to sit through again, unless the Director's Cut made its way to Blu-ray. Well, thanks a lot, Magnolia. With roughly 80 more minutes of footage to sit through across the two films (and nothing cut from the original – at least nothing that I could remember), viewers now have the option to watch this longer, more hardcore version of the film(s), although there's little in terms of storytelling or plot different from the shorter cut.PROVOCATIVE, FUNNY, SMART, WRY AND CHALLENGING. A remarkable project brimming with bold performances." a b Xan Brooks; Henry Barnes (20 February 2014). "Nymphomaniac star Charlotte Gainsbourg: 'The sex wasn't hard. The masochistic scenes were embarrassing' – video interview" (Video upload). The Guardian . Retrieved 21 February 2014. This being the 'Extended Director's Cut', you're probably wondering what the big differences are between the two versions. Well, it's perhaps no surprise that the most obvious changes have to do with the sex scenes. While the theatrical version pushed the edges of how close to pornography a mainstream movie could get, there's actually full penetration in his version, as well as a whole lot more instances of both male and female genitalia. The rest of the new footage merely seems to be longer versions of scenes already in the first cut…a few more lines of dialogue here and/or an extended scene there. The most significant non-sexual additions are more footage dealing with the death of Joe's father in Vol. I, and scenes involving a self-induced abortion that Joe graphically performs on herself in Vol. II. The abortion footage is, for my tastes, the hardest to sit through of any of the scenes in the Extended Director's Cut.

The foundation of the film is a lengthy conversation that wouldn’t be out of place in a Bergman film. VonTrier is on his game here. Gainsbourg and Skarsgård are splendid." Nymphomaniac' Character Posters Showcase Shia LaBeouf, Uma Thurman in Salacious Moments (Slightly NSFW)". Huffington Post. 10 October 2013 . Retrieved 21 February 2014.Sullivan, Kevin P.; Horowitz, Josh (18 August 2012). "Shia LaBeouf Will Do 'Whatever Is Asked' for 'Nymphomaniac' ". MTV News. Archived from the original on 10 January 2013 . Retrieved 28 December 2012. An intellectual high-wire act, death-defying, dangerous, entertaining, and delighting in its own inventiveness and daring." As said previously, Von Trier makes it clear that Joe’s journey is about power. It’s not about pleasure or providing it. Instead, once she learns the control contained between her legs, this character decides to demystify and deconstruct it. Hollywood would have our heroine shown in the throes of passion, he face a constant reminder that the multiples of partners she is with are only providing one clear thing – pleasure. But Nymphomaniac is not about fun; it’s about fear, about physical need or want trumping common sense. Von Trier is one of the few filmmakers to treat sex addiction as just that. This isn’t some half-baked comedy where porn is just a playful substitute for some bro’s inability to commit. This filmmaker wants to understand compulsion, with Seligman doing his best within the many frames of reference he has. Some of the answers are beyond disquieting. Stacy Martin and Shia LaBeouf used Body Doubles for Sex Scenes". IANS. news.biharprabha.com . Retrieved 10 March 2014. Executive producer and Zentropa co-founder Peter Aalbæk Jensen revealed that the film is to be two parts. "We are making two films. It is a big operation. I personally hope that we should be ready for Cannes next year. We will shoot both and edit both – and we want to finish both at the same time." [17] He explained there will be two versions of each film: an explicit cut and a softer cut. [17]