Nymphomaniac: Vol. II (2013)
★★★★ / ★★★★
Lars von Trier’s “Nymphomaniac: Vol. II” is a superior second half because it strips away symbolic—some might say pretentious—talk that range from fly fishing to the Fibonacci sequence. It feels like a slightly more ordinary drama on a technical level but it is ultimately the correct approach because it gives the picture a chance to narrow its attention on the deeply damaged self-described nymphomaniac.
Joe (Charlotte Gainsbourg) notices that although she has told plenty of details about her highly erotic sexual encounters with other men—most of them complete strangers—Seligman (Stellan Skarsgård) is not at all aroused by any of it. When confronted by the fact, he tells her that this is exactly why he is the perfect person to listen to her stories. Unlike many, he is able to provide her an objective opinion of what she has and is going through. Seemingly satisfied with his answer, she proceeds to recall a time in her life in which she has completely lost all sexual sensation.
The portion of the film that grabbed me most is the subchapter called “Dangerous Men.” It is injected with a sharp but very uncomfortable sense of humor as well as a slight mix of horror. I say “horror” because I was afraid for the lead character’s safety. At one point I wondered what else Joe is willing to give when, really, she has nothing else to offer.
Since her husband cannot keep up with her sexual needs, they make an arrangement that will essentially free her to have sex with other men. Her choice is a black man wearing a green jacket who does not speak a word of English. In the motel room, two men enter the door: the man she had her eyes on and his brother-in-law. She is surprised by this because she had arranged to meet only with one. Still, she welcomes the opportunity.
It is a very funny sequence because the way it unfolds is far from anything many of us might come to expect. The writer-director uses humor in a subversive way: by taking the subject’s addiction to sex as a template and applying a droplet of comedy on the surface, we are given a chance to laugh at the ridiculousness of the situation and at ourselves.
There is a level of irony to it. Through a solemn narration, we learn that Joe is expecting a sexy and steamy encounter since the language barrier will force them to focus on their bodies and to determine what they need from one another telepathically. Instead, it almost turns into some sort of farce. Body parts flopping about—utilizing quick close-ups of sexual organs from time to time—made me snicker and then laugh uncontrollably. The scene has a two-fold function: to take us out of the situation by creating a lightness and to leave us off-balanced for what is about to come.
It has been a while since I have encountered a character that shook me to the very core. K (Jamie Bell, absolutely brilliant here—my level of admiration to his performances matches that of Uma Thurman’s in “Nymphomaniac: Vol. I”) is one that I will remember for a long time. We learn close to nothing about him but the things he ends up doing with Joe made me watch some of the images through my fingers.
I don’t consider myself to be a prude, but the erotic practice of dominance and submission has never appealed to me. (Perhaps never will.) So to watch someone being whipped—causing welts, bruises, and wounds—and being smacked across the face—the writer-director ensures that we see it all unfold front and center… with the accompanying sounds—made me feel very uneasy. Still, I was unable to look away.
“Nymphomaniac: Vol. II,” like BDSM, is not for everyone. It is challenging, weird, sad, and at times confusing with what it really wants to say or be. But for me, just about everything about it works because even though the range of topics it wishes to tackle is not pretty, it encourages us to understand—maybe even empathize—with the lead character. When one considers to look at the big picture, Joe is an outcast. The outcast in us should be able to relate to her on some level.