This beginning could seem platonic enough, but soon we see the male prisoners masturbating. Had the sex been staged, the power of this intimacy would have been dampened. Given the power of unsimulated sex, it is little wonder that it has been used by filmmakers with an artistic pedigree to question moral norms, the nature of reality and the meaning of intimacy. What is normal on many computer screens and a part of everyday life — indeed, fundamental to the continuance of life — becomes shocking when called art. The reality of sex on screen makes many people feel awkward and uncomfortable, and not merely the actors. Indeed, seeing the male body without Hollywood illusion can even seem comic. Real sex can seem forced, even artificial, as its presence so intentionally deviates from the fictional norm. And — if we can accept real sex is a cinematic turn-off — why is it used at all?
This beginning could seem platonic enough, but soon we see the male prisoners masturbating. Indeed, seeing the male body without Hollywood illusion can even seem comic. Regardless, it is not surprising that what can appear natural to some can also appear shocking to others. Nymphomaniac is the third film by von Trier to include real sex. But what is it about sex — real sex — that so unsettles in film? What is normal on many computer screens and a part of everyday life — indeed, fundamental to the continuance of life — becomes shocking when called art. While Labeouf supposedly leapt at the opportunity to bare all, one can imagine feeling uncomfortable at such a request. Of course, one could also quite reasonably read the sex-act at the end of the film as a shocking publicity stunt, to make an otherwise uninteresting, low-budget film interesting. The whole film feels at times like an oriental illusion, but the real, penetrative sex by the two actors brings an uncomfortable reality into the film. When watching a sex scene in a Hollywood movie, the sex usually lacks any reality and we are left watching romanticised forms meld into one another. This complication is quite fitting, given that The Idiots questions how far simulation can go before it either falls back from reality or becomes a reality. As with The Idiots, real sex in films often serves an anti-aesthetic purpose, where the illusion of cinema is broken — we see all the floppy and pink bits. We are rendered voyeurs, every bit as much as the guard. A number of other films involving unsimulated sex have not been allowed classification. Photo courtesy of Magnolia Pictures. Because of its artistic merits, it was given an R rating in Australia. Had the sex been staged, the power of this intimacy would have been dampened. The film begins with a prison guard watching two male prisoners as they exchange flowers through the windows of their respective cells. The real masturbation creates both a sense of reality and even humour as we become estranged from our bodies by the sight of other bodies. The erotic love and thirst for extreme experiences between the two characters becomes so extreme that it bridges the separation of the unreal and the real — reality becoming like fiction. Even though masturbation may appear a solitary, self-absorbed experience, it is often an experience about another, thinking, fantasising of someone else, and this aspect of masturbation becomes idealised in this film. There is a strong sense of human intimacy between the prisoners, the guard and us, as the masturbation ceases to be a private act. Instead, he uses porn doubles. The reality of sex on screen makes many people feel awkward and uncomfortable, and not merely the actors. Von Trier, unlike some directors, does not have his principle actors have sex. However, real sex on screen can be a transcendent experience, all the more beautiful for being real. Real sex can seem forced, even artificial, as its presence so intentionally deviates from the fictional norm.
Video about sex in trier:
Booty Club Trier - Promo Video
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