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Magnolia Get All Up In Domestic Parts of Lars von Trier’s ‘Nymphomaniac’

Written by on February 11, 2013 

Despite the fact that Lars von Trier is taking Nymphomaniac to Cannes in May — the sort of badly-kept secret everyone who pays attention to this sort of thing already knows — count me as a little surprised that distribution deals are already coming together. At a different festival altogether, the hardcore drama has garnered attention from and dollars of Magnolia Pictures, who were so taken with a sizzle reel that they’re, now, ponying up somewhere around $2 million for domestic rights.

Their pre-Cannes Berlinale buy is, in fact, the same pattern enacted with Melancholia back in 2011. If you ask Deadline, the only real difference, in this instance, is what happens come May; the folks in France may still be sore over von Trier‘s satirical comments regarding national socialism, which I, personally, read as a chance for Magnolia to seize new opportunities with this particular release. Even if it’s just something pertaining to, for instance, general buzz, that’s a big advantage to suddenly have.

Now, if they can release the uncut version for home consumption — they’ll have quite a market cornered.


The film is a wild and poetic story of a woman’s erotic journey from birth to the age of 50 as told by the main character, the self-diagnosed nymphomaniac, Joe (Gainsbourg). On a cold winter’s evening the old, charming bachelor, Seligman (Skarsgård), finds Joe beaten up in an alley. He brings her home to his flat where he cares for her wounds while asking her about her life. He listens intently as Joe over the next 8 chapters recounts the lushly branched-out and multi-faceted story of her life, rich in associations and interjecting incidents.

Starring Charlotte Gainsbourg, Stellan Skarsgård, Shia LaBeouf, Jamie Bell, Stacy Martin, Christian Slater, Uma Thurman, Willem Dafoe, Connie Nielsen, Udo Kier, and Jean-Marc Barr, Nymphomaniac will hit later this year.

Is this encouraging news for those who want to see von Trier’s next work?

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