Lars Von Trier: the world’s most hardcore director?

The Danish filmmaker has taken a vow of media silence, so we got the lowdown on Lars from the cast of his new film, “Nymphomaniac”



Add +

Twenty-two-year-old London-based actress Martin plays the younger version of Joe, a damaged sex addict and the main character of Nymphomaniac.

I was still training as an actress in London when I went for a screen test in Copenhagen. Lars was very quiet. When we started shooting, I made a deal with him: he said that if I ever felt uncomfortable, I had to tell him. You can’t show the life of a nymphomaniac without showing sex: my concerns were that we knew the boundaries. I had a nudity contract, I had a porn double. I wore a fake vagina. I wasn’t going to have sex: my porn double Cindy was going to do that!

The hardest part was giving a crap blowjob. Not that I give a good one, but Lars was shouting, “Stacy, you have to give him a bad blowjob!” It’s a plastic thing they make look real. They were like: “Do you want cherry or blackcurrant gloss on it?” I was thinking: What? It has to look lubricated.

Watching the finished film was very strange. There I am, naked, and it looks like I’m having sex. I’m like: That’s my sex face? No!

Watch the ‘Nymphomaniac’ trailer

Read our “Nymphomaniac” reviews

Nymphomaniac: Part One

  • Rated as: 4/5

There’s plenty of flesh, although the film is rarely, if ever, what most people would call erotic or pornographic. It’s neither deeply serious nor totally insincere; hovering somewhere between the two, it creates its own mesmerising power by floating above specifics of time and place.
Read the full review

Nymphomaniac: Part Two

  • Rated as: 4/5

Is there any sign here of a chastened Von Trier after the ‘I’m a Nazi’ scandal? You only have to hear Skarsgård’s character musing on how non-active paedophiles ‘deserve a medal’ to know the answer. He might not have been in control of the edit, but the frank, unflinching and playful two-part ‘Nymphomaniac’ couldn’t have been made by anyone else.
Read the full review

Users say


The best films now showing


It Follows

  • Rated as: 5/5

Imbued with the kind of idea that can turn a horror film into a sensation, David Robert Mitchell’s thriller sets a relentless camera on characters that have no idea what’s in pursuit.


Seymour: An Introduction

  • Rated as: 4/5

A few years ago, before a pair of starring roles in two major Richard Linklater movies provided him with a jolt of career-affirming success, Ethan Hawke was having a crisis of confidence. “I’ve been struggling recently to find why it is that I do what I do,” the actor confesses to a crowd of friends at the beginning of the new film he’s directed. But Hawke isn’t there to talk about his problems—he’s there to shine a light on the reclusive 86-year-old piano teacher who solved them. Seymour Bernstein has been training concert pianists from inside his musty Upper West Side apartment for decades, and though Hawke isn’t training to play a recital at Carnegie Hall, Seymour: An Introduction makes it clear that he’s learned as much from Bernstein as any of the octogenarian’s pupils.  Hawke’s first documentary is a perfect movie for a gray Sunday afternoon, a gentle and loving tribute to a man so anachronistically convinced that talent is its own reward that the film might soon serve as our only proof that people like him ever existed. A living legend without a Wikipedia page, Bernstein values his solitude the way that others might their spouse, and Hawke’s movie is a model of how to portray a man who’s at peace with himself.  Seymour unfolds like a Jewish Jiro Dreams of Sushi—Bernstein may look like your average NYC grandpa, but he lives like a monk and talks like a guru. (Misleading title aside, the film is less of an introduction to Bernstein than a lesson in the value of his tea


Wild Tales

  • Rated as: 4/5

Comedy seldom travels well from one culture to another, but to judge from the first episode of this engaging if uneven satire highlighting humanity’s baser instincts, it’s clear that Argentine writer-director Damián Szifrón has a knack for latching on to ideas with a humorous dimension that’s pretty universal. The opening sketch, about an almost surreally improbable situation—a plane-load of strangers is assembled by an unseen individual bent on revenge—demonstrates not only Szifrón’s taste in ultrablack humor but his preferred strategy of combining outrageous excess with a perverse but unavoidable logic. Grudges, minor insults and found-out flirtations lead to mayhem and murder on a cataclysmic scale. The funniest of the six stories is a brilliantly extended riot of absurdly brutal road rage. The most politically biting is a study of concealment and corruption among the wealthy, reminiscent of Lucrecia Martel’s The Headless Woman. The great Argentine actor Ricardo Darín appears as an explosives expert plagued by a banal parking-ticket department. The first three episodes are the most amusing, but the final three also have interesting things to say about the psychological and moral health of contemporary Argentina—and, of course, the rest of the world.