I’m not sure why I wanted to see this film. I’d previously seen only one Lars von Trier film (Dancer in the Dark, 2000), not wanting to see the others after reading about them. However, Nymphomaniac seems to have had some decent reviews and I thought I needed to see something else of the work of the provocateur extraordinaire since he clearly attracts audiences.
The ‘plot’ of Nymphomaniac explores the sexual life of Jo from her early teenage years to her late 40s. The narrative structure uses a long flashback so the film begins with the older Jo lying bruised and battered in an alleyway in a nondescript urban setting, where she is found by Seligman, an older man who has a small apartment close by. He takes her in and she begins to tell her story – how she became a nymphomaniac.
There is a strange lack of identity in the film. This European co-production is presented in English (the Press Pack is in American English – the character is written as ‘Joe’ which I would usually think of as a male name). This in itself is not unusual for an ‘international film’ but, though filmed mainly in Germany, various aspects of the dialogue suggest that this is supposed to be the UK. It’s not clear to me if von Trier is trying to present a kind of ‘everywhere’. It would make sense to do so as otherwise we might attempt to read something from the UK context. Perhaps the film is a Danish joke about British attitudes to sex?
It’s a big ask for a young actor to be on screen for so much of the film in her debut role, but Stacey Martin does very well as the young Jo. Many reviews have picked up on the brief but powerful cameo by Uma Thurman as an angry wife and mother. The rest of the cast are also good but I don’t think that the script helps them – or the flat lighting and drab mise en scène. I wasn’t really provoked or excited by what was shown except by the scenes of Jo with her father on his hospital bed which did seem to have some emotional content. The numerous explicit sex scenes are not erotic. OK perhaps there was the occasional flicker of eroticism, but I think it is safe to assume that von Trier’s intention is not necessarily to arouse. Much of it is tedious and especially the repeated dialogue exchanges in which Jo (in her older self played by Charlotte Gainsbourg) tells Seligman (Stellan Skarsgard) that she is a “bad human being” and he assures her that no such thing exists. I think we get the point Lars.
I think I’ll have to see Part 2 in order to say anything sensible about how I read the film. It’s slightly worrying that it might include more of the moralising banalities from Seligman – and the chunks of erudition about fly fishing and other pursuits. On the other hand we will get more of the mature Jo played by Gainsbourg. Does Von Trier have something profound to tell us about nymphomania/sex addiction and/or the human spirit? Watch this space.