Lars Von Trier has made a career out of stunts: explicit material, crass juxtapositions between the high and low, casting of unexpected actors, and outlandish statements. A better way to put Nymphomaniac into context is less autobiographical than read it as a statement of artistic principles, or a dialectic on why Von Trier makes Von Trier movies. East Church Vs West, pleasure vs. This is what makes Nymphomaniac most compellingβwhat happens when we remove the body from cinema?
It must have been an obvious cut for the international censors, because while most of the sex is, well, sex, this is truly the most squeamish and offensive the film truly gets. It also thus gets to I think what the core of Nymphomaniac is really about: the importance of provocation as a narrative device. Do we need one? And what would be the meaning of that story? Von Trier knows that such lofty goals, read into his films or general, are silly affairs, and so Nymphomaniac ends with the follies of both man and woman, Joe and Seligman recant their ideas.
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