In Nymphomaniac, a large number of temporary but explicit components are merged into the stream of the narration with a special CGI approach that combines hardcore with simulation in a distinctively innovative way, supplying completely convincing impressions that the actors even have intercourse in front of the digital camera. The nazi might in fact care lots about being personally exposed and little or no about his mother’s cellphone number getting shuffled in. Within the sunlight gleams come from town-gleams from the glass of windows; from the gilt indicators of apothecaries; from the ensigns of the pupil corps excessive up within the mountains; from the helmets of the humorous little troopers moving their stiff little legs in white linen trousers.
His films are crammed with salient fashion and aesthetical formalities such as the mixing of color and black and white in Europa, the handheld digicam and the chapter footage in Breaking the Waves, the one hundred cameras in Dancer in the dark, the white traces on the studio floor in Dogville, the arbitrary camera angles in the Boss of It all (the so-referred to as Automavision), and the hypnotizing ultra gradual-movement sequences in Antichrist and Melancholia. His face marked him as kin to Morgan Cooper: a 100 Sequence Asura Emulator.
Morgan nodded. He thought of hiring the Fireclowns before setting foot within the Four Winds Bar, and rejected it out of hand. All of them ended up dead by his hand. It belongs to the comparatively few human activities that actors/actresses within the common film trade abstain from doing for real in entrance of a digital camera. This technique gave Trier, along with his customary propensity for contradicting conventionality, the prospect of having ‘real’ actors/actresses appear in hardcore ebony sex scenes that look completely authentic.
The technique of attaching the decrease our bodies of the adult performers to the higher our bodies of the actors may be interpreted as a suggestion that our sexuality is an nameless urge, an attachment to our ‘real’ personality. In the Idiots, Trier’s Dogma film from 1998, grownup performers were hired for hardcore penetration photographs seen in a few seconds within the orgy scene within the villa and similarly in Antichrist’s prologue the place the couple makes love within the bathroom.
Visually, it has a mode of added elements: there are letters, numbers, and drawings superimposed on the image; there are also chapter titles, visible quotations (inventory shots from varied sources), rapid montage sequences - all creating a distancing layer of subtle irony to the story and the occasions, go to hell motherfucker creating results of Verfremdung. The digressive model - that dominates Joe’s and Seligman’s prolonged dialog with detailed information about fly fishing, Sikorski helicopters, Fibonacci numbers, knots, Church history, polyphony, Tritonus, and various tree varieties - has no direct connection to the intercourse theme besides that it parallels emotional detachment with aesthetical detachment.
In this fashion, Nymphomaniac turns into a meta-work, filled with intertextual obstructions to closeness and spontaneity: detachment as Trier’s - and maybe all filmmakers’ - inescapable condition. The theme of detachment recurs in Nymphomaniac’s aesthetic patterns. In its use of mostly classical music, the film provides a almost encyclopedic survey of Western music from baroque to modernism, including a richness of cultural connotations: Bach’s Ich ruf’ zu dir (a reference to Tarkovsky’s Solaris), Händel’s Lascia ch’io pianga, Mozart’s Requiem, Beethoven’s Für Elise, Wagner’s Rheingold (Descent into Nibelheim), Franck’s Sonata for Violin and Piano in A major (a reference to Proust) and Shostakovich’s Waltz No. 2 (additionally utilized in Kubrick’s Eyes Vast Shut).
In the 1970s, adult movies like Deep Throat (Gerard Damiano, 1972) and The Satan in Miss Jones(Damiano, 1973) introduced the definitive breakthrough of pornographic films in Western culture, adopted by a hanging development of art films with nudity and intercourse scenes such as Bertolucci’s Final Tango in Paris (1972), Roeg’s Don’t Look Now (1973), Cavani’s The Evening Porter (1974), big cock Pasolini’s Salò (1975), and Oshima’s In the Realm of the Senses (1976). The movies all came out in Denmark in 1974-76 and have been seen by the 18-20 year-previous Trier.
Of course, it would have been so much easier if Shia LaBeouf and Stacy Martin simply had intercourse in front of the digicam. I'll have gunpowder smoke so thick that it rolls round like ocean waves within the wind. Most obvious, as already talked about, is the reference to the Antichrist prologue (with the Händel piece), however there are various more: the title Seligman comes from the early The Orchid Gardener(Schepelern 1997, hardcore sex 247); and when he says: “Seligman means the completely satisfied one” (Trier 2013, 40), it refers to Menthe la bienheureuse (in English: Menthe - The Comfortable One); the shot of a bird on a department is similar go to hell motherfucker the start of Liberation Pictures; the train scene implicitly refers back to the practice scenes in Europa and Antichrist and Joe’s purple mini shorts and black net stockings are more or less similar to Bess’ outfit at the end of Breaking the Waves.