Vega is the titular character, a woman who retreats to a seaside town to after she learns of the suicide of her lover. A grippingly sensual mystery with surrealist elements, writer-director Medem is clearly influenced by his countrymen Almodóvar and Luis Buñuel – to excellent effect.
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You haven’t lived until you’ve seen the clay-covered erection in “Sex and Lucía.” The role that first introduced Paz Vega to American audiences (shortly before she appeared in Pedro Almodóvar’s “Talk To Her”), Julio Medem’s “Sex and Lucía” features some of the most delightfully inventive sex scenes ever put to film. While the more extreme stuff is more riveting than arousing, there are a few vanilla sex scenes with Jerome (Shia LeBoeuf), an anonymous threesome, and an early scene where a teenage Joe is seducing businessman on a train. The sex - while often shocking - never feels gratuitous not only is it so central to the story, but Joe’s cogent self-analysis keeps the focus on the inner workings of her mind that the camera can’t really objectify her. From adolescence, her ravenous desire for increasingly extreme sexual contact is her only guiding principle, leading to risky and often reprehensible behavior. Joe (Charlotte Gainsbourg) is the nymphomaniac of the title, recounting the chapters of her life to the middle-aged Seligman (Stellan Skarsgard), who analyzes her escapades with various literary and philosophical references.
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This epic two-part journey into the life and mind of one seriously perverted woman has many disturbing scenes, to be sure, but there are also some pretty hot ones.
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As with most Lars Von Trier movies, “Nymphomaniac” defies categorization.