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Recenzje krytyków
Nymphomaniac: Volume I
Lars von Trier Dania, 2013
Extreme female masochism has long been a key ingredient in von Trier’s cinema. But while Nymph()maniac goes much further down this route even than 2009’s Antichrist (whose opening it directly quotes and whose self-mutilation it alludes to), it also shows far more genuine interest in getting inside its protagonist’s head.
June 05, 2015
Nymphomaniac isn’t much of a film, in terms of filmmaking. The disjointed editing seems lazy at worst, arbitrary at best, the plotting is often facile, the dialogue could’ve used a few more drafts; compared to, say, Antichrist – the opening sequence of which gets reprised here – it’s a much less beautiful movie. But this ragged, silly, very personal drama isn’t trying for beauty. What can you say about a film that leads with the line “I discovered my c*** as a two-year-old”? It’s a provocation.
June 03, 2014
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As damaging and near-traumatic repercussions pile up in response to Joe’s behavior, von Trier manages the dual achievement of simultaneously refusing to reprimand her for her perceived indiscretions and pledging to remain a watchful witness to their troubling side effects. The result is a film that looks not to individual forces as agents of social problems but rather to systemic injustices.
April 09, 2014
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It’s against the overwhelming permanence of this system that Nymphomaniac’s sex-negativity takes root. I’m not sure that Von Trier has an answer for how women can escape patriarchy’s ever-grinding machinations… What remains clear is that he holds up about as little hope for an innate goodness to sexuality as he has previously exhibited for the innate goodness of the human spirit.
April 04, 2014
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That’s daring – making a four-hour epic not just talking about but manifesting one’s own agonized gender ignorance. Unfortunately, von Trier never takes on this touchy idea. He instead seems to find profundity in both Seligman’s meaningless detours and his heroine’s guilelessly compulsive copulating and masochism.
April 02, 2014
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[Joe and Jerôme] meet and remeets with all the subtlety of opera. It’s this self-mockery that stops Nymphomaniac from being overly grim and reminds you of the puppet master behind it all. We’re never far from Von Trier, and both Skarsgård and Gainsbourg appear to offer different versions of the author himself.
April 01, 2014
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[Joe] isn’t a character (admittedly, neither is anyone else in either film), but a device that allows the filmmaker to haphazardly stitch together a variety of sexual fantasies, most of which pivot on the pain and degradation of the female at the hands of an embittered male.
March 30, 2014
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In the end, she is the artist. Von Trier is proud of his provocations yet concerned that the audience may too easily indulge him or, pace David Denby, actually become aroused. Indeed, that, in a sense, is the movie’s punchline. Anxious that he will no longer be able to top himself, von Trier is willing to end Nymphomaniac—if not his career—with a cheap stunt meant to rebuke his admirers, as if to prove that he still can.
March 26, 2014
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In the end, she is the artist. Von Trier is proud of his provocations yet concerned that the audience may too easily indulge him or, pace David Denby, actually become aroused. Indeed, that, in a sense, is the movie’s punchline. Anxious that he will no longer be able to top himself, von Trier is willing to end Nymphomaniac—if not his career—with a cheap stunt meant to rebuke his admirers, as if to prove that he still can.
March 26, 2014
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It makes one think, as my colleague suggested, that if von Trier felt less obligated or imposed upon to explain himself, he might one day resume making visionary work.Nymphomaniac may well be von Trier’s most overtly anxious film, constantly stopping both to question itself and inform its audience of its intentions.
March 23, 2014
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It makes one think, as my colleague suggested, that if von Trier felt less obligated or imposed upon to explain himself, he might one day resume making visionary work.Nymphomaniac may well be von Trier’s most overtly anxious film, constantly stopping both to question itself and inform its audience of its intentions.
March 23, 2014
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Nymphomaniac not only represents a new direction for Lars, but a new level of directness. It’s not just those music cues, or the fact that his beloved male/female dichotomies are so blatantly problematized here… It’s that despite the sexual explicitness… or the blend of light comedy with violence and abuse, von Trier has taken a break from his puckish provocateur persona to make a film that wants very much to let you know where its maker stands on things.
March 21, 2014
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…This work feels fundamentally unfinished, as though its maker arbitrarily spliced it around its midway point to get as much distribution and publicity mileage out of the event as possible…. [Though] the director’s defining aesthetic convulsion continues to be the queasiness-inducing jump cut. Few working filmmakers manufacture such unease through cutting alone…
March 21, 2014
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Although there is a constant wealth of sources, influences, cinematic forms and stylistic devices, Lars von Trier could be called the “anti-stylist.” In the creation of this total work of cinema, the forms remain impure and mixed, their differing planes and colors visible like those of a cubist painting. Each space/time in Nymph()maniac has its own color palette…
March 21, 2014
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Von Trier is the best advertising person in the movie business, and he has come up with a movie that is an ingenious commercial for itself… There’s a lot of sex shown in “Nymphomaniac,” but von Trier’s depiction of sex acts is blandly pneumatic, mechanical, virtually effortless, and filmed as casually and as indifferently as is the rest of the action.
March 21, 2014
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Von Trier is the best advertising person in the movie business, and he has come up with a movie that is an ingenious commercial for itself… There’s a lot of sex shown in “Nymphomaniac,” but von Trier’s depiction of sex acts is blandly pneumatic, mechanical, virtually effortless, and filmed as casually and as indifferently as is the rest of the action.
March 21, 2014
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Nymphomaniac not only represents a new direction for Lars, but a new level of directness. It’s not just those music cues, or the fact that his beloved male/female dichotomies are so blatantly problematized here… It’s that despite the sexual explicitness… or the blend of light comedy with violence and abuse, von Trier has taken a break from his puckish provocateur persona to make a film that wants very much to let you know where its maker stands on things.
March 21, 2014
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What’s arguably most compelling about Nymphomaniac is its relentlessly Cartesian organization, a mind/body split that creates all kinds of tension and resonance while steadfastly refusing to integrate its components at a granular level. The impression is of a film as divided against itself as its protagonist—which is of course to say that von Trier knows exactly what he’s doing even as he seems to be throwing up his hands in surrender to the irreconcilable agony of it all.
March 20, 2014
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What’s arguably most compelling about Nymphomaniac is its relentlessly Cartesian organization, a mind/body split that creates all kinds of tension and resonance while steadfastly refusing to integrate its components at a granular level. The impression is of a film as divided against itself as its protagonist—which is of course to say that von Trier knows exactly what he’s doing even as he seems to be throwing up his hands in surrender to the irreconcilable agony of it all.
March 20, 2014
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Mr. von Trier is a brilliant, unorthodox director of actors who plays with performance the way other filmmakers play with light. The acting in his work is often unpredictable, almost fluid, and can change moment to moment, scene to scene, creating rippling shifts in the air. One minute, his actors are dragging you deep into the story with raw emotion; the next, they’re pushing you out of the movie with brittle, self-conscious artificiality.
March 20, 2014
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Mostly, Nymphomaniac plays like a grand doodle, Von Trier goofing on his own habits, his reputation, and on the conventions of episodic epics. (“I think this is one of your weaker digressions,” Joe amusingly tells Seligman after he redirects the conversation down some side-alley of memory.) …Nymphomaniac may at best be a digression, but it’s not one of Von Trier’s weaker ones.
March 20, 2014
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Chaotic and not especially pretty, the film has more of the punkish, radical spirit of Von Trier’s The Idiots than the gloss of his Melancholia. There’s plenty of flesh… but the film is rarely, if ever, what most people would call erotic. It’s neither deeply serious nor totally insincere, undercutting its focus with bizarre digressions (fly-fishing?), a ragbag of acting styles, and humor. It feels like an X-rated farce, with a playfulness that keeps you close.
March 18, 2014
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Dark hints aside, von Trier does a masterful job of presenting Joe’s life as dominated by and, in large parts, electrified by sex. All other private details—a despised mother (Connie Nielsen) and beloved, doting father (Christian Slater); education; and laissez-faire approach to work—are pushed to the background. More successfully than Steven McQueen in Shame, von Trier manages to convey Joe’s acting out as a desperate need to feel alive.
March 16, 2014
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The most shocking thing about Nymphomaniac, with its cock-shot montages and frankly descriptive narration, is how flat-outfunny it often is. Has Von Trier finally emerged from the storm cloud of depression that fell over him a few years ago, the one that inspired back-to-back bummers Antichrist and Melancholia? …No movie—half or full—that introduces the expression “whoring bed” to the cinematic lexicon could be anything less than an instant must-see.
March 07, 2014
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Nymphomaniac is one von Trier film to which you can’t easily give a thumbs-up—or down—and it’s a dense, labyrinthine undertaking through which you can’t easily find your way. It’s a Dostoevskian sprawl of a creation, at once monstrous and magnificent, infuriating and inspired—von Trier’s most defiant invitation yet to an argument, and an argument, I suspect, that will rage intensely for some time to come.
March 05, 2014
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Nymphomaniac is one von Trier film to which you can’t easily give a thumbs-up—or down—and it’s a dense, labyrinthine undertaking through which you can’t easily find your way. It’s a Dostoevskian sprawl of a creation, at once monstrous and magnificent, infuriating and inspired—von Trier’s most defiant invitation yet to an argument, and an argument, I suspect, that will rage intensely for some time to come.
March 05, 2014
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Nymphomaniac: Volume 1 is a film that opens in consuming blackness and, I’m sure, will end there when the curtain falls on Volume II. It’s nasty, it’s cynical, it’s nihilistic, and it may strike some as reprehensible (which is not a moralizing comment on its abounding nudity and graphic depictions of sexual intercourse of sundry configurations). But, to nip a line from The Big Lebowski, at least it’s an ethos. It’s also von Trier’s best film (or best half of a film) since Europa…
February 17, 2014
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For all her self-loathing, Joe’s philosophies – that love is sex with added jealousy, and that the sum of her sexual experiences equates to one lover – are the fruit of refreshingly independent thought. This unabridged version is considerably longer and more explicit (porn doubles were used), but the additions do not feel significant. Joe’s father’s death is the main extended scene – mischievously denying those hoping for arthouse titillation.
February 10, 2014
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In either edit, the movie remains a ferociously entertaining experience in which one finds von Trier at the peak of his craft, linking together ideas about female sexuality, fly-fishing and artistic creation with equal amounts of playfulness and intellectual rigor. As one surprised journalist told the cast (and, by extension, their absent director) at the press conference, "It was a lot more fun than we expected.
February 09, 2014
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The film is not a perfect work and vacillates greatly in quality, particularly in Volume Two, but the successful sequences are so rich in thought-provoking representations of big subjects and so distinctively the work of its singular and taboo-flouting director that it all makes for essential viewing.
December 17, 2013
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