Miserable, Misanthropic, Malevolent Feminist Marxism

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Release Date: April 04, 2014

Starring: Charlotte Gainsbourg, Stellan
Skarsgård, Stacy Martin, Shia
LeBoeuf, Christian Slater, Uma
Thurman, Sophie Kennedy Clark,
Connie Nielsen, Udo Kier

Genre: Drama

Audience: Adults

Rating: Not Rated

Runtime: 123 minutes

Distributor: Magnolia Pictures

Director: Lars von Trier

Executive Producer: Peter Aalbæk Jensen, Marie
Gade Denessen, Peter Garde

Producer: Louise Vesth

Writer: Lars von Trier

Address Comments To:

Bill Banowski, CEO, Magnolia Pictures (Magnet Releasing)
1614 West 5th St.
Austin, TX 78703
Eamon Bowles, President, Magnolia Pictures (Magnet Releasing)
43 West 27th St., 7th Floor
New York, NY 10001
Phone: (212) 924-6701; Fax: (212) 924-6742
Website: www.magpictures.com; Email: info@ magpictures.com


(HHH, CoCoCo, FeFeFe, PaPaPa, RoRo, Ab, C, HoHoHo, LL, VVV, SSS, NNN, A, D, MMM) Very strong humanist, Marxist, feminist, extremist worldview promoting hedonistic pagan immorality, including sado-masochism, not just humanist amorality and nihilism, with strong Romantic elements of isolation from society coupled with a Romantic, feminist critique of male-dominated “bourgeois” society, plus an Anti-Christian pseudo-intellectual discussion about Christianity analyzing the Western Catholic Church as a church of guilt and the Eastern Orthodox Church as a church of divine joy, a shot of a painting of Jesus with his mother and celebrating Christmas together seems to be seen as a good thing but it’s undercut, and very strong homosexual content where older woman becomes lesbian lover of teenage girl she mentors as the girl matures into womanhood; 15 mostly strong obscenities (including several “f” words) and zero profanities, plus man urinates on woman after beating her when she pulls a gun on him; very strong masochistic violence includes man viciously whips woman’s bare rear end, man viciously slaps woman, female protagonist burns car, apparent murder when gunshot heard over black screen, man viciously beats up woman and kicks her after she tries to shoot him, but gun doesn’t go off, and it’s suggested woman deliberately but unconsciously perhaps didn’t cock the pistol; very strong sexual content includes very strong and vicious masochistic whipping to the point of bleeding, depicted oral sex, depicted female self-abuse, depicted fornication and sodomy, woman begins to have sex with two men but the two men argue about what to do and she leaves, sexual sounds, and depicted male erection when woman tells man a made-up and pornographic pedophile story; extreme nudity includes several shots of full frontal male or female nudity, shots of upper female nudity, shots of rear male and female nudity, shots of upper male nudity; brief alcohol use; smoking; and, jealousy, blackmail, extortion, loan-sharking, lust, betrayal, father and mother both abandon son, and woman says that a pedophile who doesn’t act on his lust should be considered a real hero.


NYMPHOMANIAC: VOLUME II concludes the story of Joe, a sex-crazed woman who has problems fitting into society. It turns her story into an extremely obscene, pornographic, pretentious, sadomasochistic, morally bankrupt, and depressing tale promoting some weird brand of Atheist Marxist Feminism.


NYMPHOMANIAC: VOLUME II concludes the story of Joe, a sex-crazed woman who has problems fitting into society. It turns her story into a miserable, depressing, sado-masochistic tale promoting some weird type of Atheist Marxist Feminism. The fact that the movie is so obscene, pornographic, and overtly sado-masochistic shows how morally bankrupt and psychologically empty, if not unstable and irrational, Atheism, Leftism, and Feminism really are. Ultimately, it also shows how ugly, meaningless, and wicked modern art has become.

At this point in the story, Joe has met up again with the man she really loves, Jerome. However, she no longer feels any pleasure in their sexual escapades. Joe becomes pregnant, and she starts living with Jerome and their young son. Despite that, Joe continues to have relations with other men in order to recover, somehow, her sexual pleasure. Eventually, she turns to a sadomasochist who whips her naked body to the point of bleeding. To keep her appointments with this pervert, Joe leaves her young son in the apartment alone. One day, Jerome, who travels a lot for business, comes home and finds their son alone. He warns Joe that if she does this again, he’s leaving and taking the boy with him.

Sure enough (on Christmas Day, no less), Joe suddenly leaves Jerome and the boy to make the pre-established meeting with the sadomasochist. However, realizing that she’s now lost her son, she tries to get help for her sexual addiction. Her group therapy works for awhile, but she can’t stand the “bourgeois” sexual repression and psychobabble of the counselor. Joe insults the group and proudly proclaims that she’s not a sex addict, she’s just a nymphomaniac, and she enjoys being a nymphomaniac. So there!

With no means of financial support, Joe takes a lucrative job for a mid-level, independent gangster who’s in the repo business for loan sharks and other clients. Joe’s very good at her job as an enforcer. Eventually, the gangster suggests she mentor a younger person to help her. He has just the right person for her – a pretty teenage girl who’s a social outcast like Joe. Joe takes “P” under her wing, and the two soon become good friends as well. Things get complicated, however, when P reaches maturity, starts living with Joe, and suddenly expresses love for the older woman.

Joe and P begin a lesbian relationship. Things get even more complicated when Jerome suddenly turns out to be one of the people Joe and P have to collect money from for one of their clients.

Joe is telling this whole story to an older man named Seligman, who found Joe beaten and unconscious in an alley near his apartment. Joe explains to Seligman that, like her, Jerome couldn’t handle the responsibilities of parenthood and eventually gave their son up for adoption.

The ending to this perverted story is a tale of lust, betrayal, and sudden murder. In Volume II, Joe the nymphomaniac displays Marxist, feminist rage toward “bourgeois” society. Also, in her story, the male sex doesn’t come off too well either. Though the dominant worldview is secular humanist, there’s a touch of Romantic rage against society and its corruption and “repression,” coupled with an extreme hedonistic paganism, where the individual decides what lusts and desires to pursue. Ultimately, if anyone gets in the way of that, they are left behind, or even killed. There’s a touch of Freudian humanism in all this as well, which isn’t all that surprising since many Marxist Feminists, both male and female, have adopted Freudian humanism, not to mention Darwinian evolution.

Notorious director Lars von Trier is behind the creation of NYMPHOMANIAC: VOLUME I and II. Admittedly, there are some interesting shots in all of his movies, but they are usually an artsy, episodic, depressing blend of obscenity, bizarre behavior, misanthropy, left-wing politics, warped psychology, and false, pseudo-intellectual anti-religious bigotry, among other things. The movies often come with chapter headings and semi-philosophical discussions, apparently to give them an air of intelligence. This is all phony, of course, no matter whether or how much von Trier believes the messages, philosophies, or ideologies depicted in his movies.

None of the Lars von Trier movies that MOVIEGUIDE® has been able to review or see have been inspiring, including VOLUME II or his most acclaimed movies, which probably are BREAKING THE WAVES, DOGVILLE, and ANTICHRIST. In fact, all these movies are rather depressing as well as abhorrent and extremely obscene. Lars von Trier is clearly wasting the talents that God gave him. Sadly, his story is a tale that’s all too prevalent in what secular critics have labeled “modern art.” NYMPHOMANIAC: VOLUME II should turn off any moviegoer with an ounce of taste or human decency.

In Brief:

NYMPHOMANIAC: VOLUME II concludes the story of Joe, a sex-crazed woman who has problems fitting into society. Joe neglects her son for an obscene fascination with a vicious sadomasochistic pervert. This ends her relationship with Jerome, the boy’s father. With no means of financial support, Joe becomes a debt collector for loan sharks, bookies, and other gangsters. Her gangster mentor suggests she befriend a pretty teenage girl to turn her into an apprentice. This leads to more lust and, eventually, betrayal and murder.

NYMPHOMANIAC: VOLUME II continues the depressing, pretentious, pseudo-intellectual, pornographic tone of VOLUME I. This time, the story is given a Marxist, feminist twist. The hedonistic “heroine” defies almost all social and moral conventions. At one or two points, she overtly rails against “bourgeois” repression, a typical Marxist, feminist cliché. NYMPHOMANIAC: VOLUME II is a miserable, perverted, misanthropic, malevolent, morally bankrupt, sadomasochistic, and abhorrent feminist obscenity. Only mindless, loony, lamebrain, leftwing art snobs will think this movie has anything valuable to say to anyone. NYMPHOMANIAC: VOLUME II should turn off any moviegoer with an ounce of taste or human decency.