There are also smaller digressions about Freud or the decisions taken under the heading PC mere speech ban catalogs of postmodernists. Very nice also the implementation of the knowledge of Karl Kraus, that what is the people nowadays sold as a treatment of the supposed or actual deviations, in truth, the disease for which treatment she adheres. Kraus said the original with respect to Freud, he did not understand until the advent of Nazism, after 1933 but had to revise his views in regard to the Erkennisse the Vienna neurologist; Adorno finally grabbed the image on in a developed form, when he railed against the sterile and revisionist medicine after Freud's death, the psychology expel any libidinal and socio-critical sting tried. V. Trier sets this socio-critical turn of Krauschen word in the sense of the conflict Society contrasting individual here in a therapy scene in a comparable manner to where her apartment disfiguring therapy means much ill act as Joes actual nymphomania, and Joe this realization finally screams the therapist's face which obviously is not at all able to resist saying.
What, however, has surprised me is that the much more explicit (apparently so not in the cinema spilled) Director's Cut also the first part, where among other things, male and female masturbation, erection, ejaculation, lips and oral sex are open and can be seen in close-up, already has been released from 16 years.
And it's a bit strange that the Joe confession decreasing Skarsgard, who all lived by it, at least in retrospect, with apparently immense guilt debauchery, even the strangest variations and incest with the corpse of the dead father with remarkable equanimity and erudite references to the literature - and cultural history ennobles harmless and in good company located that even extortion and attempted murder (of goes wrong solely on the basis of chance) for the harmless: keeps Repulse ", suddenly, despite his him supposedly objective:" Demanding rights "and and dispassionately rants in sexual matters solubilizing own asexuality, against a completely unvollzogenen sex, from which it in this form, completed as unconsummated, in his beloved literary and cultural history is teeming. Joe refers him at least with the example Thomas Mann on at which refer to work and especially the early diary of 1918 / '19 content much more substantial, but of course bourgeois tactfully described in the form of scenes and fantasies in this direction than in the described scene Starsgard brings so enraged as to view inter alia to Adorno: "The Authoritarian Personality studies" and his essay: "Sexual taboos and right now" would be atypical for a truly asexual people. That the murder can not be accepted by accident, he explains with a "unconscious celebration of human dignity" which had provoked the go wrong, when consciously or unconsciously unvollzogenen sex but he apparently does not admit this kind. But well, this supposed paradox between his otherwise boundless kindness-forgiving asexuality and his moral outburst is indeed cleared up at the end.
The dialogues between Gainsbourg and Skarsgard are mostly translated well, as befits a dialogue-heavy chamber play, especially since often such scholarly and philosophical. Stacy Martin, who plays the young Joe from the 70s up to the early 90s, most of the time acts like a mixture of 95% Eva Green and 5% Emma Watson. Striking the use of different lighting styles, color looks and graininess of the image that will help along with the facilities here, look and feel of each decade convey.
For a not always one hundred per sedentary sharpness I have in a style like that of the film does not necessarily have anything, but unfortunately tends Trier once again to shake the camera out of his hand. What it positively differs from other representatives of the Shaky camera genres, is that apparently the camera was not somehow kept simple unplanned in the area, but again v. Trier-typical detailed and good, developed in advance and collusive with cinematographer storyboard with good camera angles and setting sizes zugrundelag.
Technically and aesthetically, it seems to have irritated some reviewers that v Trier in. "Nymphomaniac" repeated, but resorted not excessively at the hermeneutical and metaphor-like excursions Skarsgård in the literary and cultural history in a more or less open source archive material has , As long as that was really turned on footage, I had no problems with it (which have since criticized some enraged reviewers aesthetically, is likely to point out that they both, after all, Oscar-winning Oliver Stone film credits include "JFK" (1991) and "Nixon" (1995) were not allowed to goutieren particularly), but the typical ugliness billigster video recordings dropped me every now and then to negative. But as I said, the archive material was rare enough.
