Joe's father is the key, providing figurative clues but never showing the way, and his description of the ash tree, folded in the leaves of the diary, turns into a faded misty mystery. Couldn't find the link, her pain and excitement were like a sudden orgasm when she was lying on a hill at the age of twelve, and she thought it was a miracle in a trance. her vacancy.
Vol.1 mentions Edgar Allan Poe's The Fall of Usher, and Joe and Seligman's discussion and narration are also poetic. Seligman excitedly says they were "reading a river" when Joe said she and B were heading down the train to catch "fish" that could be hooked.
At the end of the day, Seligman can't talk about "blackening" at all, and from the beginning there was a total trembling excitement in his eyes, and an unabashed, dirty, curiosity, so that he had to bring out the teachings, classical music and seemingly. Mathematical logic that digresses thousands of miles to resist.
Yet Joe goes back over and over to her and her father's childhood secret garden, their forest. Lars Von Trier's footage completely suffocates Joe's sexual experience, into a vacuum.
About director Lars von Trier, his macro and micro, quotes and allusions, metaphors and irony, deep philosophy, heavy poetry. In fact, I prefer that kind of frivolous pretense, which is harmless to people, not a heavy hammer, but an intellectual. But it's a pity that Nymphomaniac's film reviews are not reliable at all. They indulge their sensibility one by one.
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