A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits the town, she finds out that their support has a price. Yet her dangerous secret is never far away.
Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed.
A man named Seligman finds a fainted wounded woman in an alley and he brings her home. She tells him that her name is Joe and that she is nymphomaniac. Joe tells her life and sexual experiences with hundreds of men since she was a young teenager while Seligman tells about his hobbies, such as fly fishing, reading about Fibonacci numbers or listening to organ music.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The number of chapter headings both in this film and Nymphomaniac: Vol. II (2013) that begin with "The" also reflects the Fibonacci sequence numbers that are constantly entwined with Joe's life: Five ("The Compleat Angler," "The Little Organ School," "The Eastern and the Western Church (The Silent Duck)," "The Mirror" and "The Gun") and three (""Jerôme," "Mrs. H" and "Delirium"). See more »
The train carriage where the two girls pick up strangers is German, but the ticket collector is wearing a British Railways uniform from the 1970s. See more »
Well, if three is a crowd, then seven must be a bit of a challenge for the pretty miss. I must say I have a hard time picturing her enjoying loneliness.
See more »
Near the very end of the credits there is this disclaimer: "None of the professional actors had penetrative sexual intercourse and all such scenes where [sic] performed by body doubles." See more »
The director's cut adds roughly 28 minutes of footage, expanding some of the subplots. See more »
This is an interesting, intellectual piece on the nature of sex, love, addiction and morality.
It's a shame Von Trier seems intent on inserting explicit sex into his work these days, as it mostly serves to alienate the viewer (or me, anyway) from the message of the work.
In response to those who call him a pornographer, I couldn't disagree more. I'm not sure whether the sex in this film is gratuitous, perhaps it is, but it certainly isn't titillating at all, and I don't believe it's meant to be. In fact it's quite the opposite, coming off as depressing, soulless and devoid of humanity, except for that of Joe's victims.
I'm not sure what I feel about the film overall, but I'd say it's more good than bad, and definitely worth a watch.
A note on the different versions: I've seen the longer version, but saw half of the shorter, cut version, and honestly I can't say it seemed to make much difference. When something is so graphic, why censor it at all?
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