Last we left Joe, she had just been broken down with the tragic realization that she couldn’t feel anything. Her years of sexual escapades and experimentation had left her suddenly numb, cold, distant, and depressed…and this is the new Joe that we get to follow in Lars von Trier’s Nymphomaniac: Volume II, the second half of his sexual cinematic odyssey. Needless to say, this sequel of sorts doesn’t live up to the emotional gravitas and observational humor of Volume I, instead settling for a few interesting thoughts but mostly von Trier’s penchant for gratuitous sexual violence and plenty of shock value.
Viewer discretion not advised…if you’re a mature adult.
Sex education — sort of.
Let’s get this out of the way — Lars von Trier makes films that are explicit, controversial, and sad as f-ck! Some consider them pornographic, others call them gratuitous, while others call them brilliant works of art. All opinions are right because Lars von Trier’s films, above all else, invite endless interpretations, conflicting opinions, and discussions. His newest film, Nymphomaniac: Vol. I, the first part of a 4+ hour film divided into two volumes, is actually the third and final part of the “Depression Trilogy”, which includes von Trier’s prior efforts Antichrist (2009) and Melancholia (2011). These three films aren’t connected in the traditional sense of trilogies, that is to say, by story. Rather, they are tonally and thematically intertwined, each one separately exploring the worlds of sex, depression, and the multiple forms of human tragedy. Hooray! ...right? As you can imagine, these films don’t lend themselves to much mainstream appeal. In my humble critic’s opinion, they should. Well, maybe not Antichrist. But Nymphomaniac: Vol. I is a fascinating and well-rounded exploration of sexuality, identity, eroticism, youthful angst, and self-reflection, as told through a traditional biopic film structure, that invites personal introspection and a yearning to discuss these topics with others.
