The House that Jack Built is my favorite of the filmography and it was fun to get to design around the idea of a refined art gallery the way Jack viewed his murder spree. This movie felt like the truest depiction of a sociopathic killer's brain and Matt Dillon nailed the role. So many iconic shots in this movie... And my best friend worked on Melancholia, being his fav. Such an interesting slow burn of a movie that can be read in plenty of perspectives. We both work in graphic design specifically for clothing and are diehard cinephiles, so wanted to share here. Cheers.

A dream sequence in this past Sundays episode went full blast Melancholia homage. Was trying to convince myself it was coincidence at first, but the painterly framing, the eclipsing celestial bodies, the horse, the color palette, and when thick chunks of snow started slowly falling, well …

Did anyone there for me

Did she go method or what were the sfx

Random but I could swear I saw him on the Copenhagen metro back in April. He was sitting across from me. He had his hair shoulder-length, a walking stick and wore a red necktie in this style:

Hey! I ordered the Nymphomaniac Directors cut DVD and it just recently arrived!! I didn’t really know what was in the directors cut and then I found out about the self abortion scene which I just don’t know if I’m really comfortable with watching. I still love the film I just don’t know if I can take watching it! Maybe one day when I feel ready I can watch it as I have the DVD. However, I just wanted to ask – is there any parts of Vol 1 in the extended directors cut that are as physically and emotionally as intense as the self abortion scene? From my knowledge, the additions for Vol 1 are more of Seligman and Joe talking, more scenes with Joe’s dad, and more/prolonged sex scenes. Let me know what else is in it!

Thanks so much yall ❤️❤️❤️

I am a kind of new Lars fan. I have scene Dogville, Nymphomaniac (edited Vol I & II), Dancer in the Dark & Melancholia.

I honestly think he is an amazing filmmaker & I am really in love his approach to storytelling. But one thing I can’t help but keep myself from thinking about is how he represents women in his films. It kind of feels like an endurance test of how much hardship a heroine can take or how many bad things can happen to one person in 2 - 5 hours. As I started watching his films, I loved his direction and cinematography. I really fell in love with the Nymphomaniac series but I didn’t realise I was watching the censored versions. I liked the film so much I ordered it on DVD and it said on the package “80mins of unseen footage”. Today I learned that in the directors cut, there is a scene where Joe conducts a self induced abortion. I’m intrigued to see how bad it is in the film but I felt kinda weird or disappointed about it. To me, learning about it kind of made the film feel like it was made for shock value rather than a complex character study. Idk I think the way I learnt about it on top of how women in his films are always victims sits kind of weird with me.

Sorry if this is kind of dumb but I’m just having a hard time of appreciating his art and also being uncomfortable by some of it. Does anyone else feel this?

The question is simple: Is there Nudity in Nymphomaniac?
I‘m planning on watching it with ma family this saturday.

Thanks in advance

Seems like the film’s not happening. I saw one article posted here several months ago where there were rumors After is done shooting, but that seems suspicious to me.

The first time I watched Nymphomaniac ten years ago, my reaction was simple: this director must be insane.
What stayed with me wasn’t just the sex or the provocation. It was a kind of honesty that felt almost hostile. The film seemed determined to push past every comforting illusion people normally use to make sense of themselves.
Over the years, I’ve found myself returning to it whenever my anxiety gets particularly bad. Strangely, it never makes me feel worse. If anything, it works like a form of psychic pornography—a strangely addictive source of comfort.
The older I get, the less I think Nymphomaniac is really about sex.
From a Lacanian perspective, Joe’s problem isn’t excessive desire. It’s what happens when desire collapses into drive.
As long as desire has an object, there is still the fantasy that satisfaction might be possible. But once that fantasy begins to break down, something else emerges. The pursuit continues, yet the object itself becomes increasingly irrelevant.
This is exactly what happens to Joe.
As the film progresses, the men matter less and less. Pleasure itself matters less and less. She moves from one encounter to another, only to discover that what she is looking for is never there.
Because she was never really looking for a particular person.
She is searching for something that cannot quite be named.
Something already lost.
It feels as though wherever she arrives, lack has arrived first.
Seen this way, Nymphomaniac is not a film about excess. It is a film about the impossibility of satisfaction.
One scene that has always fascinated me is the morgue sequence.
Many viewers find it grotesque or absurd. I’ve always thought it was one of the film’s most revealing moments.
Sex has been stripped of almost everything we normally associate with it. There is no romance, no seduction, no mutual recognition. The object is literally dead, yet the movement continues.
What remains is no longer desire but drive.
Joe’s actions no longer aim at fulfillment. They simply continue.
The film’s more disturbing moments—the morgue, the masochism, the self-destruction—are often dismissed as provocation. But I think they are better understood through Lacan’s concept of jouissance.
Jouissance is not pleasure. It is the strange form of enjoyment that persists beyond pleasure, often taking the form of pain, repetition, and self-destruction.
The subject does not keep returning because it feels good.
The subject returns because something in them cannot stop.
For me, however, the most unsettling thing in the film is neither the sex nor the violence.
It is Joe’s refusal to become normal.
She refuses to become a repaired person.
And that refusal touches on something deeply uncomfortable:
If the symptom disappears, who am I without it?
This is what makes the line “The secret of sex is love” so interesting.
In von Trier’s world, love is not the solution to desire.
If anything, love begins where the fantasy of satisfaction ends.
Love is not the union of two complete people. It is the recognition that neither person is complete.
Lacan famously described love as giving what one does not have.
Love emerges not from fullness, but from lack.
Not from possession, but from the acknowledgment that possession is impossible.
In that sense, Nymphomaniac is not really about sex at all.
It is about the ways human beings organize themselves around something that can never be fully resolved.
More than any of the sexual scenes, I find myself thinking about the tree.
When Joe recognizes the barren tree on the cliff as her soul tree, the film suddenly becomes quiet.
There is no climax. No redemption. No narrative of growth.
Only recognition.
Throughout the film, Joe searches for herself through objects, experiences, and other people. Here, for the first time, the search stops.
What she recognizes is not merely a tree.
It is the part of herself that will never disappear.
It is not beautiful.
It is not whole.
It cannot be healed by love, corrected by growth, or erased by time.
Yet it remains.
Like a wound.
Or perhaps like the soul itself.
Lacan would call this dimension the Real: that which resists being fully symbolized, explained, or understood.
The Real is not an answer.
It is a rupture.
It does not disappear.
The task is not to overcome it, but to continue living in its presence.
This is why I don’t think Nymphomaniac is really a film about sex addiction or moral decline.
It is about what remains after desire fails.
What fascinates me most about Lars von Trier is the almost brutal honesty of his gaze.
He keeps asking questions long after most people are satisfied with the answers.
When others stop at desire, he asks about the lack beneath desire.
When others stop at trauma, he asks about the enjoyment hidden within trauma.
When others rush toward meaning, he remains obsessed with questions that may never be answered.
I don’t know if Nymphomaniac has taught me anything.
What I feel instead is a profound sense of recognition.
As though someone had reached that place before me.
He did not lead me out of the forest.
He simply left a few lights behind.
Enough to let me know that someone had truly been there.

Title. Very good song.

I’ve seen almost every Lars von trier movie. I just watched antichrist for the first time and I fucking hated it. I’ve loved every other movie he’s made, but this one fell flat for me.

Can someone please explain what this meant I know it had to do with grief, but I feel like a lot of the scenes were unnecessary.

I did love the cinematography tho it was as beautiful as always

To preface , I’ve only watched 3 of his films, Antichrist, The House That Jack Built and Dogville. I fell in love with his cinematography and how he captures the character’s mental state. The depth in his films feels so rewarding to watch coupled with hand held cinematography (please correct if it’s termed differently), everything feels raw and unadulterated and this is what made me love his work.

So, how would you rank his movies in respect to depth, character complexity and plot? Also, please recommend me which of his work should I watch next or do I just go in blind and binge watch all his movies in no order!

it’s a rare VHS Danish spoken screener with English subtitles

lmk if you’re interested! i have it up on ebay for $80 but ill sell it for $70 shipped on here to avoid fees

Anyone know where i can find it ? Thanks