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" Nymphomaniac " sure has caused quite the stir without even screening in that many theaters. The latest art house film from Lars von Trier made headlines for its orgasmic posters , an unusual discount for infants and -- probably most notably -- its use of digitally added porn doubles for the sex scenes.
The unusual concept was a way to avoid filming the A-list cast featuring Charlotte Gainsbourg, Shia LaBeouf and Uma actually having sex while keeping the hardcore images that von Trier wanted for his deep dive into sexuality.
On set, the whole process was anything but sexy, according to Stacy Martin, the 23 year-old actress who plays the younger version of the main character Joe. When I spoke with her at the press day for "Nymphomaniac" she walked me through what filming a sex scene was like before it was altered.
While most the composite footage won't make it into US theaters, the uncut version of the sex scenes only featured the midsection of the actors' porn double. Everything above or below actually belonged to Martin or LaBeouf, for example.
You'd think that removing all spontaneity from a sex scene would kill any believable chemistry, but for "Nymphomaniac" every move had to be carefully predetermined.
"Basically, we would do the scenes," Martin said. "What happens is that we have to agree on a position because of the CGI. Everything has to be set, so we would do the scene with Shia or whoever it was, and we would get little black dots on our bodies," Martin said. "It was very unerotic, very technical and it gets quite boring because then they have to do exactly the same with the porn doubles. But they're having real sex, and they put the two together."
All of the uncomfortable waiting and black dot application was worth it for Martin, however, because she got to work with the esteemed director without having to become a porn star.
"It's incredible, and I can be in a Lars Von Trier movie and not have sex," she said. "It's fantastic."
"Nymphomaniac Volume 1" is in theaters now. Both installments are currently available on digital platforms.
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SHE was just a girl when she was deported to Auschwitz-Birkenau concentration camp.
But 16-year-old Cilka Klein’s beauty so entranced the camp commandant that he made her his sex slave .
Cilka, a virgin, was repeatedly raped by him and kept separately from the other prisoners.
While in Auschwitz she had a degree of privilege, including extra food rations and warmer clothes, but that came at a huge cost.
When the camps were liberated in January 1945, Cilka was charged as a collaborator by the Russians and sent to Vorkuta, a brutal prison camp in Siberia .
For ten years, Cilka endured horrific conditions, including more sexual assaults .
After her release in 1958, Cilka, who became known as Cecilia, returned to Czechoslovakia , where she found love with Ivan Kovac, who had also spent time in a Russian gulag.
For the rest of her life, until her death in 2004, Cilka lived quietly in Kosice and rarely spoke about the hardships she had endured.
Her incredible life is the basis for the novel Cilka’s Journey by Heather Morris, which is out now.
It is a sequel of sorts to Heather’s first book, The Tattooist Of Auschwitz.
It was in 2003, while working as social worker in a Melbourne hospital, that Heather met Lale Sokolov.
As their friendship grew, Lale trusted her enough to reveal his story to her.
Heather learnt that her new friend was a Slovakian Jew, who fell in love with a woman called Gita at the most notorious concentration camp of them all.
Lale’s memories were immortalised in The Tattooist Of Auschwitz, a fictionalised account of his story — and one of last year’s most popular books.
It has sold more than three million copies — two million in the UK alone. The book is being adapted into a six-part TV miniseries.
Heather says: “During one of our conversations Lale mentioned Cilka and said to me, ‘Did I tell you about Cilka? She was the bravest person I knew’. Her story was so extraordinary that I knew it had to be told, too, so I seeded her into the first book.”
Heather, 66, did an extraordinary amount of research for her second book.
She explains: “I saw Cilka’s school reports, I stood outside her home, I went to the synagogue where she worshipped and met many people who knew her.”
However, the new book has been a target for criticism. The Auschwitz Memorial Research Centre claims “the book contains numerous errors and information inconsistent with the facts”.
But the mum of three says: “I promised Lale before his death in 2006 that I would never give up telling his story.
“I make it clear that the books are a work of fiction, based on what I learnt from the first-hand testimony of Lale.
“Although Cilka’s Journey weaves together facts and reportage with the experiences of women survivors of the Holocaust, and the experiences of women sent to the Soviet Gulag system at the end of the Second World War, it is a novel and doesn’t represent the entire facts of Cilka’s life.
“Ultimately both of the books are about hope.
“Humans can cope with so many things and still have a capacity to love and hope for a better tomorrow.”
Reflecting on whether the book was hard to write, Heather says: “It made me angry to write about the abuse that Cilka suffered.
“So little has been written about the rape that went on at that time and I want to call it out.”
Musing on whether Cilka would be happy with the account of her life, Heather says: “I like to think Cilka would be quietly delighted that her story has finally been told.
“Before I met Lale, the Holocaust was just a word to me - much to my shame. I feel honoured to tell these stories.”

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From Lars von Trier to John Cameron Mitchell and almost every Vincent Gallo movie, here are the films that actually captured real sex scenes.
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“Wetlands,” “Pola X,” “The Idiots,” “Intimacy,” “Strange by the Lake,” “Immoral Woman”
Sex on film is nothing new, and yet unsimulated intercourse in non-pornographic films has been somewhat of a marvel.
Catherine Breillat ‘s first film in 1976, “A Very Young Girl,” adapts her own controversial novel about a 14-year-old exploring her newfound sexuality. While the lead actress Charlotte Alexandra was age 20 during production, the film wasn’t released in theaters in the U.S. until 2000.
Breillat’s later film, “Romance,” was announced as the first European film with non-simulated sex scenes in 1999, according to Breillat.
“Actors are prostitutes because they’re asked to play other feelings,” Breillat exclusively told IndieWire . “This prostitution is not profane; it’s a sacred act that we give them.”
In contrast, John Cameron Mitchell set out to “honor” sex as a pastime for real people, much like art, music, or cuisine, in his second feature film, “Shortbus,” the 2006 film now rolling out a re-release restoration nationwide.
Mitchell told IndieWire about filming the cult classic, “Certainly, a lot of films had used sex, but they were pretty grim, and I wanted something more fun and funny, but still emotionally deep. And so I said, ‘I never want you to do anything you don’t want to do, but I do want you to challenge yourselves so we can challenge the audience.'”
Mitchell continued, “‘Shortbus’ isn’t about sex. It uses sex as a medium, as a delivery system for ideas and characters and emotions, just like ‘Hedwig [and the Angry Itch]’ uses music. Sex is our music in ‘Shortbus.’ We really only did one sexual rehearsal. I just went with what they wanted to do.”
And the depiction of unsimulated sex onscreen has taken many forms across decades and new political landscapes. “In terms of sex being presented on film, mainstream or even independent film has foresworn it,” Mitchell summarized. “They’ve given it up, because it’s too scary. There’s too many people saying someone’s being exploited and consent-based issues in intimacy. Imagine an intimacy counselor on the ‘Shortbus’ set. Imagine…a ‘Shortbus’ intimacy counselor would be like, ‘May he put his arm inside you now? Is that OK?'”
See the definitive list of unsimulated sex in film, directed by filmmakers from Lars von Trier to Vincent Gallo, William Friedkin and Abel Ferrera.
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