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Lars von Trier's buzzy erotic epic also stars Shia LaBeouf and Uma Thurman, among others.
The first teaser for Lars von Trier âs buzzy erotic drama Nymphomaniac has been released online, and itâs branded with the auteurâs distinctive style of yellow-tinted scenery and an unvarnished, at times unsettling, naturalism that hooks you even though you might want to look away.
Billed as an âappetizerâ from the first of eight chapters of Nymphomaniac , the scene features Stacy Martin as a younger version of Joe ( Charlotte Gainsbourg ) embarking on a mission to seduce a fellow passenger aboard a train.
The sexually explicit film, slated to premiere Dec. 25 in Copenhagen, drew even more attention when von Trier released a porn-inspired cast photo in May, featuring a plethora of stars (including Shia LaBeouf , Uma Thurman and Willem Dafoe )Â in compromising positions.
Email: Erin.Carlson@THR.com Twitter: @ErinLCarlson
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Over the past few days a video that appears to show a Russian teenager being bullied by a large gang of kids, apparently for being gay, has been shared on a variety of sites.
Quite rightly, the video â which ends with the kid having what appears to be urine poured over him â has caused outrage. Many people see the video as the latest development of a creeping homophobia in Russian society â a homophobia that appears to be state-sanctioned.
While we were initially hesitant to publish the video, the fact is that the video is everywhere now and it would be futile to try and hide it. Please note, while the video doesn't show any direct acts of violence, it is distressing to watch :
We reached out to Larry Poltavtsev , a U.S.-based tech entrepreneur who was one of the first people to bring the video to the attention of the English-speaking world, with the help of his Spectrum Human Rights Alliance . Poltavtsev helped explain why the video was so horrifying.
In the video, which appears to have been shot in the winter in the suburbs of a Russian city, a 15-year-old boy has been lured to a meeting place by the fictional online persona "Uncle Dima." However, once he is there he is met by a gang of young men and women. These young men and women apparently created a fake "Uncle Dima" account on VK, a Russian social network similar to Facebook, to lure the young boy to the meeting place.
They imply â though it is difficult to trust them â that the boy was planning to have some kind of sexual conduct with "Uncle Dima" in return for the money to buy a laptop.
Clearly under duress, the 15-year-old is then forced to "confess" to being a homosexual. He is forced to reveal his full name, the school he goes to, his parents' names, home address, etc.
Perhaps what is most remarkable about the video is that the gang that attacks the boy clearly feels proud of their actions. A number appear clearly in the video, and while one does wear a mask at one point, this may be more for intimidation. At another point an older lady comes into the frame, and she commends the gang for their actions, and tells the boy to be ashamed of himself.
According to Poltavtsev , the video is part of a wider problem. A former skinhead who has faced jail time for neo-Nazi crimes, Maxim Martsinkevich, has been the ringleader in two projects: "Occupy Pedophilyaj" and "Occupy Gerontilyaj." While these projects ostensibly have the aim of catching pedophiles, in reality, Poltavtsev says, fake VK profiles are used to find and publicly humiliate young gay men. The police do little to help, Poltavtsev says, and besides, most young men are too afraid to go public about the crimes. "Being outed in a small Russian town is like being killed," Poltavtsev said. "So, many resort to a suicide."
Poltavtsev says that largely the Russian media hasn't touched the subject, with a couple of notable exceptions. Earlier this month Lenta.ru sent a reporter to the Urals , one of the places where the "Occupy Pedophilyaj" movement was strongest, to investigate. "If I had it my way, we would kill [homosexuals]," one member of the group tells the journalist. Another Russian story says that the victims are sometimes as young as 11 years old .
It's hard to watch this video and agree with people who feel that Russia is being unfairly portrayed as homophobic . While the video itself doesn't prove acts like this are systemic, it does seem like the logical conclusion of a country where "gay propaganda" is banned and polls show 50% of people feel "irritated or disgusted" by homosexuals .
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We look back at the best French gay cinema.
Traditionally France has been seen as one of the most liberal countries in the world, and it boasts an enviable record on gay rights, despite the occasional rantings from Brigitte Bardot. But has this homofriendly attitude translated to its cinema?
Weâve kept the list to films that are easily available to watch in the UK , but honourable mention should go to The Ostrich Has Two Eggs (1957), a dated farce that at least has a sympathetic gay son, albeit one who never appears on screen, and Les AmitiĂ©s particuliĂšres (1964), set in a boysâ boarding school. Les Nuits fauves (1992) is one of the finest films to deal with the AIDS crisis, while the best work of the recently deceased Patrice ChĂ©reau (especially 1983âs LâHomme blessĂ© ) narrowly missed the cut.
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Where are the lesbians? Good question, as French cinema is particularly strong on sapphic cinema. Alas, pioneering films such as Club de femmes (1936) and Olivia (1950) arenât easily available in the UK , but hopefully a list will appear in the future.
French writer Jean Genet is one of the key figures of gay culture, whose novels (including Querelle of Brest), plays and essays have been championed by gay and straight readers alike. His only venture into film was never meant to be seen outside of a small clique of intellectuals, yet has since been restored and released on DVD . Itâs a heady fantasy set in a menâs prison, where passion, longing and sexual desire infiltrate every cell. The cast consists of non-professionals Genet knew personally.
Its scenes of nudity and masturbation lead to numerous bans and cuts over the decades. Ironically, its most celebrated erotic sequences involves two clothed men who never touch, as one blows cigarettes smoke through the cell wall into the mouth of his neighbour. It had a major influence on later cinema depicting queer longing, notably Rainer Werner Fassbinderâs adaptation of Querelle (1982).
Jean Cocteau is another major figure in LGBT history. While he was a renowned poet, artist and writer, his distinctive films are the most potent part of his legacy, particularly his gothic adaptation of the Beauty and the Beast fairytale, La Belle et la BĂȘte (1946), and his lyrical modernisation of the Greek myth of Orpheus, set in contemporary Paris. While the romantic relationships are straight, the iconic imagery is unquestionably queer.
Cocteau casts his former lover Jean Marais as OrphĂ©e, who attracts the romantic interests of a woman in black, soon revealed to be Death. After she claims the life of his wife, he must brave the underworld to ensure her return. The cameraâs lingering gaze over the handsome male actors, the theme of leaving a normal reality to transgress into a world beyond societyâs norms, and, most famously, the leather-clad bikers who accompany death on her reaping missions, mark this out as a key queer work.
File this one under âqueer aestheticâ. In the most excessive of Jacques Demy âs films, he creates an infectiously cheery musical in which everyone has a ball. Catherine Deneuve and Françoise DorlĂ©ac are the damsels of the title, looking for love in the sunny seaside town of Rochefort. But will any of the attractive men on offer fall for their charms?
Thereâs nothing explicitly gay here, but any film that shoves Jacques Perrin in a sailor suit, squeezes George Chakiris into tight white trousers and decorates itself with lavish, lurid sets definitely has a queer eye. Its relentless good nature isnât for Scrooges, but itâs a hard heart that canât enjoy Gene Kellyâs surprise cameo, or the vision of Deneuve in elbow-length gloves, chain-smoking while removing a chicken from the oven (trust us, itâs amazing).
âUne comĂ©die trĂšs gayâ smirked the tagline for this box-office smash. This frantic farce, based on a play by Jean Poiret and remade as The Birdcage (1996) and a long-running musical, is the ne plus ultra of camp, and a clear inspiration on later drag comedies such as The Adventures of Priscilla, Queen of the Desert (1994). Renato, a nightclub owner, and Albin/Zaza, a flamboyant drag queen, play host to the formerâs son, fiancĂ©e and her hugely conservative parents. The son wants Albin out of the picture for fear of offending his prospective in-laws, but Albin has other ideas.
It quickly became the most popular foreign-language film of all time at the American box office, and director Ădouard Molinaro , the script and the marvellous costumes were all Oscar-nominated. Michel Serraultâs Zaza commands â and demands â the spotlight throughout, and the set pieces still fizz, notably the uproarious final soirĂ©e. Those seeking âstraight-acting men, no time wastersâ arenât invited to this party. And theyâre missing out.
Thereâs something to offend everyone in Bertrand Blier âs riotous comedy. A long-suffering husband (Michel Blanc) and his vindictive wife (Miou-Miou) have a blazing row in a restaurant, when an oafish burglar (GĂ©rard Depardieu) interrupts, hits the woman and becomes embroiled in their relationship, taking them on his stealing outings. He has seduction in mind but, to the growing horror of the husband, itâs he, rather than his wife, whom the burglar has in his sights. But persistence pays off, and political correctness is given another kicking.
Blierâs films often focus on two inadequate men uniting against women (Les Valseuses, the Oscar-winning Get Out Your Handkerchiefs), and undertones of homosexuality have always lingered in the air. Here itâs made explicit, albeit in an occasionally homophobic context â the scenes where the husband is forced to don womenâs clothing are particularly uncomfortable. Yet its gleeful offensiveness is catchy, and the energetic performances are top notch, particularly from Blanc, who won the best actor award at Cannes.
Before his acclaimed features (8 Women, Potiche, In the House), François Ozon was a celebrated short filmmaker whose distinctive work was the toast of film festivals worldwide. Une robe dâĂ©tĂ©Â is the most fun, a playful three-piece comedy set on a summer holiday by the beach. When SĂ©bastienâs queeny performance to the song âBang Bangâ irritates Luc, his boyfriend, to distraction, the latter heads to the beach for some gratuitous skinny dipping. There he encounters Lucia, and unexpected polysexual attraction enters the equation. But the summer dress of the title comes along to save the day.
Whereas Ozonâs later queer films were tinged with darker themes (Water Drops on Burning Rocks, Time to Leave), Une robe dâĂ©tĂ© is a magnum of fun champagne, where all are good at heart and everyone gets laid. The summer dress becomes an emblem of acceptance â butch or femme, masculin ou feminin, itâs a frothy lesson in sexual freedom and gender diversity.
Only two films directed by women made it into Sight & Soundâs last round-up of the greatest films of all time â Chantal Akermanâs feminist masterpiece Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975) and Claire Denisâ Beau Travail (1999), a sweaty sort-of adaptation of Herman Melvilleâs Billy Budd. Denis Lavant plays Sergeant Major Galoup, who oversees his troop in a remote garrison based in east Africa. The arrival of the beautiful and charismatic Gilles threatens both his authority and his command on his sexuality, as an unrequited homoerotic attraction takes hold. Galoup responds with sadism, punishing the younger man for the uncomfortable new feelings he is experiencing.
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