Nymphomaniac is a movie that dives deep into female sexuality, emotional trauma, and the complexity of desire,  Directed by controversial auteur Lars von Trier, this two-part film stars Charlotte Gainsbourg as Joe, a woman who recounts her entire sexual history to a man who finds her bloodied and broken in an alley.

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This erotic art film can make a middle age housewife in a swinger club end up feeling like a Sunday school teacher once she meets the demented slut, Joe

This Ain’t Your Average Erotic Drama

This ain’t soft-focus romance here. This movie will grab you by the nipples (or balls) and it won’t let go. Joe’s journey is raw, messy and explicit.  In fact the only things that keep it from being classified as porno is that the acting is good and the sex isn’t real.  However, the film doesn’t play it safe.   It takes you on a journey from spontaneous trysts on trains to emotionless affairs and full-blown sex addiction.

Once again, unlike porn, it explores the feeling of shame, and the void many sometimes try to fill with whatever or whoever is available.

Charlotte Gainsbourg: A Performance That Leaves You Speechless

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Charlotte leaves acting behind and instead, transforms.  As the character, “Joe” she’s is vulnerable, pitiful and difficult to watch.  Obviously she’s an actress, so all of this is just her pretending but she does it with same passion and determination as people fighting for a giant TV on Black Friday.   The woman has mastered her craft very well.

Why Nymphomaniac Makes You Rethink Everything

Watching Nymphomaniac can be like taking a selfie of your life in a funhouse mirror.  It’s distorted, exaggerated and still very much you.   Here you see yourself mirrored in Joe’s shame and recklessness. Most people never end up in a alley with bruises but emotionally, we’ve all been there.   – Nymphomaniac is not just erotica, it’s an existential journey.

Is It Worth Watching?

This movie isn’t for someone who’s easily offended or can’t handle adult themes.   So, anyone who wants something that’s politically correct, gentle or soft and flowery, should just watch the Paw Paw Patrol.  On the other hand, it’s a must-see for anyone who enjoys brutal honesty and witnessing emotional damage.  – Pour yourself a glass of wine

This is art

Another Erotic Movie – Emmanuelle

Nymphomaniac isn’t a movie, it’s an experience. Like all good art, it’s provocative.  But, it’s also humbling for many because it underlines the fact that the majority of people are not as wild as they believed.   Their stories are tame compared to Joe’s and their sex lives could be a whole lot worse.

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Exploring Taboo and Desire in “Ma Mère” (2004)

My Mother /Ma Mère, is based on a novel by Georges Bataille, The 2004 film, directed by Christophe Honoré, is  provocative and controversial. This french film navigates the intricate terrain of forbidden desires and the consequences of exploring them within the confines of a family.  What begins as a seemingly ordinary family visit soon spirals into a profound exploration of the darker aspects of human nature.

Set against the backdrop of a luxurious but emotionally sterile family estate, “Ma Mère” introduces viewers to a world where social norms and personal boundaries are constantly tested. The story follows 17-year-old Pierre, played by Louis Garrel, who is thrust into an unsettling and morally ambiguous environment when he visits his mother, Hélène (Isabelle Huppert), and her partner, Rémy (Joachim Lafosse), for the summer.

The film’s narrative revolves around the complex relationship between Pierre and his mother, Hélène. Hélène is portrayed as a charismatic yet emotionally detached figure, while simultaneously being a sexually liberal and perverse individual.  Her actions challenge societal conventions and familial loyalty. Her unorthodox behavior and intimate relationships with those around her blur the lines between maternal affection and sexual attraction. This dynamic is central to the film’s exploration of the boundaries between familial love and desire.

Honoré’s direction is both audacious and deliberate, crafting scenes that are visually striking and thematically charged. The film’s cinematography, marked by its bold use of color and framing, accentuates the emotional and psychological intensity of the narrative. The visual style complements the story’s exploration of the human psyche, capturing the underlying tension and conflict that permeates the characters’ interactions.

One of the most compelling aspects of “Ma Mère” is its unflinching examination of taboo subjects. The film does not shy away from depicting explicit sexual content, using it as a tool to probe deeper into the characters’ motivations and the societal constraints they confront. The portrayal of these taboo elements serves to challenge viewers’ comfort zones and provoke thought about the nature of desire and the limits of societal norms.

Despite its artistic and thematic ambitions, “Ma Mère” has sparked debate and controversy, particularly regarding its explicit content and the moral questions it raises. Critics have both lauded and criticized the film for its bold approach to sensitive subjects. What begins as a seemingly ordinary family visit soon spirals into a profound exploration of the darker aspects of human nature. Regardless, of one’s personal take on the subject, Ma Mère is a provocative entry in contemporary french cinema.

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Young Lady Chatterley,” directed by Alan Roberts and released in 1977, is an erotic drama inspired by D.H. Lawrence’s controversial novel, Lady Chatterley’s Lover. The re-imagined story has been modernized with anew cast of characters.  The film centers on Cynthia Chatterley (played by Harlee McBride), the fictional niece of the famous Lady Chatterley. Cynthia is benefactor to the original Lady Chatterley’s estate, and discovers within her inheritance a diary that details the passionate affair with her gamekeeper. Inspired by her aunt’s sexual awakening, Cynthia embarks on a journey of self-discovery, indulging in her desires and exploring her own sexuality with various men around the estate.

As Cynthia delves deeper into her aunt’s experiences, she begins to mirror Lady Chatterley’s actions, engaging in affairs with men of different social classes, including her own gamekeeper, John (played by Peter Ratray). The film follows Cynthia’s transformation as she sheds her innocent demeanor and embraces a more liberated, confident version of herself. Throughout the film, Cynthia’s sexual escapades are depicted in explicit detail, which was a hallmark of the softcore erotic genre prevalent in the 1970s.

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Young Lady Chatterley was released during an era when the boundaries of sexual expression in cinema were being pushed. The erotic potential of D.H. Lawrence’s original novel, were easily adapted to the women’s liberation mentality proliferating the 1970s. Unlike the more serious and literary adaptations of Lady Chatterley’s Lover, this adaptation focuses heavily on titillation, offering a series of sensual encounters framed within a loose narrative structure.

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The film’s protagonist, Cynthia Chatterley, is portrayed as a young woman who is initially naive but quickly becomes empowered through her exploration of sexuality. Harlee McBride’s performance convincingly conveys the character’s transformation from an innocent young woman to a confident and sexually liberated individual. McBride’s portrayal is both alluring and playful, which aligns with the film’s tone, blending eroticism with a sense of fun.

The film’s erotic scenes are shot with a sense of voyeuristic intimacy, often emphasizing the beauty of the human form and the sensuality of the encounters. The film maintains a whimsical tone, never delving too deeply into the more complex psychological aspects of Lawrence’s original work. Instead, “Young Lady Chatterley” offers a more straightforward celebration of sexual exploration and personal freedom. While it may not offer the depth or seriousness of more traditional adaptations, it succeeds in its goal of providing titillation and entertainment, making it a product of its time that continues to be remembered for its sensuality.

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Love Mommy is a haunting and disturbing exploration of familial bonds twisted by mental illness and unresolved trauma. Lloyd Culberson is the man behind this film, both as director and portraying this young man, Vincent, who finds himself ensnared in a toxic relationship with his mother, Bette. With a gripping narrative and powerful performances, “Love Mommy” delves into the dark complexities of love, guilt, and the inescapable pull of a troubled past.

“Love Mommy” opens with Vincent, dutiful yet resentful, picking up his mother, Bette (played by Cindy Rucker Trost), from a mental institution. The dialogue between them shows that this is not the first time, her offspring has had to take care of the needs of his mother. Bette has a long history of mental illness, having been in and out of psychiatric facilities for several years.  As a result, their relationship is fraught with tension, resentment, and unspoken pain.

Vincent, out of a sense of duty and lingering guilt, temporarily moves in with Bette to help her adjust to life outside the hospital. He doesn’t want to be there, but Bette’s last hospitalization came after a suicide attempt, and he wants to be sure she will be alright.  From the moment he steps into his childhood home, it becomes clear that their problems aren’t truly behind them. Their interactions are filled with reminders of the turmoil they have both endured, and the atmosphere is thick with unresolved emotions.

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Bette’s behavior is snide and belittling. One moment, she is affectionate and vulnerable, seeking comfort from her son. The next, she is a bitch, angry and lashing out at him with venomous words, meant to cut deep. Vincent tries to keep his emotions in check, but it becomes increasingly difficult as her hostilities grow. He finally retorts that his girlfriend, Ginny (played by Rebecca Fraiser), is pregnant with his child, knowing that his mother will be hurt back by his revelation. This news triggers a volatile reaction in Bette, who sees the impending birth as a threat to the fragile bond she shares with her son. Her jealousy and possessiveness spiral out of control.

When Vincent throws up his hands in frustration, demanding, “what do you want from me?!” His mother answers. “You know what I want.” This reveals that their codependent and strained relationship has secrets.  Bette’s hostile behavior is not that of an abandoned mother, but of a jilted lover. And she manipulates Vincent into giving her what she so desires. The scenes leading up to this are uncomfortable and raw, depicting the emotional entanglement that drives Vincent to the brink.

“Love Mommy,” is a film that lingers long after the credits roll. It tackles themes of mental illness, generational trauma, and the destructive power of unresolved guilt with unflinching honesty. It makes one wonder at what point did this relationship turn sideways? Was it always, one person pushing their desires on the other? While the film’s subject matter is difficult and at times disturbing, “Love Mommy” is a powerful exploration of the lengths to which love, duty, and despair can push a person.

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Quiet Days in Clichy is a  film directed by Jens Jørgen Thorsen, based on the semi-autobiographical novel by Henry Miller. The film chronicles the bohemian lifestyle of the 1930s in Paris, France. The movie, much like the novel is explicit and hedonistic. In fact the novel, published in 1956 was banned in the US and several other countries. “Quiet Days in Clichy” captures the essence of the bohemian lifestyle with raw honesty and a distinct European sensibility. Jens Jørgen Thorsen’s direction stays true to Henry Miller’s unapologetic exploration of sexual freedom and existential angst.

Joey (Paul Valjean), an aspiring writer, and Carl (Wayne Rodda), his Danish photographer friend, revel in the carefree and permissive atmosphere of Paris. The film’s episodic structure, characterized by a series of vignettes, mirrors the fragmented and transient nature of Joey and Carl’s lives. Joey is both charismatic and introspective, embodying the conflicted artist torn between hedonism and the pursuit of literary greatness. Carl is somewhat of an antagonist to Joey, his carefree and impulsive nature is completely unhindered, highlighting the contrast between the two friends’ approaches to life.

Their days are marked by aimless wanderings, literary discussions, and indulgence in the city’s vibrant nightlife. The film delves into their interactions with various women, exploring themes of love, lust, and the complexities of human relationships. While their lives appear to be a continuous cycle of pleasure and debauchery, underlying these experiences is a profound search for meaning and authenticity.

One of the film’s strengths is its portrayal of Paris as a character in itself. The cinematography vividly captures the city’s charm and decadence, from the bustling streets to the intimate cafes. The black-and-white aesthetic enhances the nostalgic and timeless quality of the narrative, immersing viewers in the ambiance of 1930s Paris.

Paris in the 1930s was a hub for expatriate artists and writers, providing a fertile ground for creative exploration and intellectual exchange. The city’s liberal atmosphere attracted figures like Miller, Ernest Hemingway, and F. Scott Fitzgerald, who found inspiration and camaraderie in its vibrant cultural scene. While it may not appeal to all tastes, it remains a significant cultural artifact, capturing the spirit of an era marked by artistic rebellion and sexual liberation.

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Butterfly, directed by Matt Cimber, is a drama set in rural America,  that delves into the complex and often taboo subject of sexuality. The film introduces audiences to Pia Zadora, in the title role. Her character, a seductive young woman, arrives in a small town seeking her estranged father, Jess Tyler, played by Stacy Keach.

As the narrative unfolds, it becomes evident that Butterfly’s intentions are not solely familial.  She enthusiastically engages in a provocative relationship with her father, pushing the boundaries of conventional morality within the community. Oscillating between moments of tension, passion, and introspection, the film Butterfly underscores the destructive potential of repressed desires and societal taboos.

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Butterfly’s uninhibited demeanor and challenge of societal norms make her a quintessential representation of the era’s evolving sexual landscape. However, it is essential to note that the film also portrays Butterfly’s sexuality as a source of controversy and conflict, highlighting the underlying tensions and anxieties that accompanied the era’s changing morals.

Conversely, Jess Tyler’s character  embodies the conservative attitudes which sought to uphold traditional notions of sexuality and morality. His internal struggle between desire and societal expectation, underscored a conflict that resonated with many during the era. This conservative attitude is shared by his community who represent the moral consequence of succumbing to his temptations.

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In contrast to the era’s dominant attitudes towards sexuality, the film “Butterfly” offers a nuanced portrayal that neither wholly condemns nor glorifies the characters’ actions and desires. This film is particularly meaningful given that it’s subject remains taboo today, while all other sexual liberties are promoted on the cultural level, even in schools.  As such, the film invites viewers to engage in a critical dialogue about the complexities of human sexuality and the societal constructs that seek to regulate and define it.

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Exploits of a Young Don Juan is based on the french novella by Guillaume Apollinaire. The Franco-Italian collaborative film was directed by Gianfranco Mingozzi.  A period drama-comedy set around WW1, the movie follows the coming-of-age journey of Roger (Fabrice Josso), an adolescent sent to live with his aunt and uncle in the French countryside. As he struggles with his raging hormones, Roger explores his awakened desires at every possible opportunity.

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The central theme is Roger’s sexual appetite. He finds himself the only male of considerable age, surrounded by buxom women. Lonely women, whose men are off fighting in the war.  The complexities of Roger’s situation are exasperated with his attraction to his Aunt. Set against the idyllic countryside, Roger’s inner turmoil is thusly juxtaposed.

The film “Exploits of a Young Don Juan” is alternatively titled “What every Frenchwoman Wants”.  But the actress who graced the movie posters was none other than Italian pin-up favorite Serena Grandi. The Italian title translates into “the initiation”, which seems to be a multifaceted catch-phrase for Roger’s journey into adulthood, especially considering 3 of his lovers become pregnant. But whatever you call it, this movie encapsulates the coming of age fantasies of every hot-blooded, heterosexual male.  (Not to be confused with modern-day woke propaganda, nor appreciated by it’s adherents).

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Themes of desire, innocence, and the societal norms of the 20th century that shaped our understanding of sexuality are all touched upon in “Exploits of a Young Don Juan”.  The film uses actors that are over 18, but it isn’t afraid to explore the realities of adolescent desires and virility.  This raw exposure of human sexuality, is beautiful yet brings to mind the old adage, “All is fair in love and war”; thereby inviting reflection and discussion.

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Spanking the money is a 1994 film turns family drama on it’s head. redefining the relationship between a parent and their offspring.  The film’s title itself is a euphemism for masturbation, when one takes “matters into their own hands”.  However, the main character Raymond, feels increasingly that his fate is out of his hands.  Raymond (Jeremy Davies) has plans for a summer internship when his father makes him care for his bedridden mother instead. Susan (Alberta Watson), isn’t physically unwell, but she has limited mobility because of a broken leg. As Susan becomes increasingly dependent on Raymond, their relationship takes a disturbing turn, leading to a taboo romantic connection between mother and son.

Exploring sexual awakening in the context of an inappropriate relationship “Spanking the Monkey” attempts to address the conflictual nature of the Oedipus complex.  Raymond is resentful of his familial situation, especially since it has disrupted hard earned advances on his career path. He finds himself struggling to relate to his peers and is sexually awkward with his attractive neighbor.  Regardless, his sexual frustration, begins drive him into the arms of his mother, who is ever present in his daily activities. This exploration of a taboo subject forces the audience to question the boundaries of acceptable human behavior and challenges us to consider how circumstances can push individuals to do things normally reprehensible.

One could argue that director David O. Russell’s willingness to tackle such prohibited subjects is a daring artistic choice, especially for his first feature film. The forbidden change in nature of the principle mother -son relationship,  is not the only dark theme.  Raymond’s narcissistic parents manipulate him for their own comforts, though-out the movie. He is driven  to near suicide, as he increasingly loses control, over the direction his life is taking. So this is also a film about toxic relationships, how commitment with the wrong priorities can undo the best laid plans, robbing a person of years of hard-work.

Some believe that the explicit and provocative nature of the content is purely to titillate the audience. But I believe that it only strengthens the metaphor for this coming of age film. As Raymond’s individual identity and purpose is being smothered to death, by his position as dutiful son.  Lost opportunities, broken promises, the role reversal from child to caregiver, then from offspring to independent individual. “Spanking the Monkey” is one young man’s disturbing journey to learn how to “take matters into his own hands” and become the independent adult he was meant to be.

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The Cement Garden was based on Ian McEwan’s novel of the same name. It’s a bizarre film almost surreal. The story revolves around a family with 4 children, and the tragedies they endure. Like the backyard “garden” cemented in, the dysfunctional family struggles in its development.  Tragedies orphan the 4 siblings and they struggle to deal with things in each his own way.

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The film is focused on the eldest boy Jack, who at 15 feels guilty for his father’s heart attack.  He was supposed to be helping him re-cement the backyard, the Cement Garden. But he had snuck away to masturbate. In fact, this is largely a coming of age film for Jack (Andrew Robertson), who goes from a narcissistic masturbator to the male head of his household in a few short months. The shared responsibilities, and lack of adult supervision, turn his hormonal tendencies into an unhealthy obsession for his 17 year old sister Julie (Charlotte Gainsbourg).

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The tension between the elder pair of siblings is typical at first. As when their mother takes ill, Julie finds herself strapped down with the full responsibilities of a housewife. Their mother prepares for a long hospital stay and warns Jack that he must help his sister keep her absence secret as the authorities would put his younger siblings, maybe him too, into protective services and take the family home. When she dies before treatment, Jack and Julie hide her body in the basement, encased in the leftover cement meant for the Cement Garden.

The youngest brother Tom is only a first grader. He misses his mother so much that be begins a psychological spiral. This spiral starts with bullying, continues with cross-dressing and role playing and ends with him adopting infantile behaviors. This pseudo-sexuality is rarely seen or captured in such a young actor. But the Cement Garden is not your typical film. Tom was played by the director, Andrew Birkin’s own son Ned. And the family affair doesn’t end there, as the female lead, Charlotte Gainsbourg is the director’s niece.

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La Luna is a film by Bertolucci and it explores the intertwining themes of addiction and obsession overlaid on familial love and commitment. The movie raises thought-provoking questions about morality, familial bonds, and the pursuit of personal freedom, touching on the subjects of incest and drug addiction.

“La Luna” tells the story of Joe Silveri, a teenage boy who finds himself uprooted and in a foreign environment after his father’s untimely death. His mother, a famous opera signer, submerges herself in her work to deal with the loss, leaving her son to find his own way. Joe loves his mother, especially when she sings but as he tries to make sense of coming of age, being an American in Rome, and finding his place in the world, he longs for something he can count on, for structure and consistency. His mother, Caterina, is absorbed by her art and in contrast to her son, she is at ease in Italy, where she learned her trade. She speaks Italian fluently and surrounded by people who love and support her, she flourishes professionally. She doesn’t even realize that she has been ignoring her son until her assistant reminds her that his birthday is the next day.

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Joe overhears that she has forgotten and becomes sullen and dismissive with his mother’s attempts to make his day special. He wanders off from his birthday party with his girlfriend and his mother goes looking for him. Her world comes crashing down when she discovers that he is shooting up heroin. Suddenly her career is unimportant and she starts to obsess over her son. Afraid to be alone, feeling like a failure as a mother, she will do anything to make things right for him. She hounds him for answers but he remains aloof, believing that she is more concerned with her reputation than him. They fight, she frets, he collapses and she calls in a doctor, who tells her what to expect when he awakes. She finds his drug supplier and learns how homesick Joe has been. She tries to payoff the dealer to stop selling his drug, but he gives her a fresh supply instead, saying that her son will be needing it.

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Incapable of tough love, Caterina practically smothers her son with everything she thinks he needs. Her obsession becomes incestuous after she alleviates some of his drug withdrawal pain by groping him. She tells Joe that he is half-Italian and continues to try to seduce him, even tries to make him jealous. But he just wants the kind of tough love he needs to overcome his addiction, and become a man. She finally lets him know where to find his biological father. Will he find the parent he seeks or throw it all away, as the spoiled adolescent he has become?

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