Bangular adult wap
So much so, in fact, that her account quickly becomes monotonous.Thankfully, she’s not onscreen much – in this instalment at least.If von Trier overreaches, it’s at least a spectacular, Hindenburg-crashing-down-in-flames-sized failure.In that respect, at least, he’s a courageous filmmaker – so much so, in fact, that the question of whether that courage is a genuine sense of artistic risk-taking, or simply an outcome of extraordinary self-belief, finally becomes irrelevant.In which we return once more to Joe (Charlotte Gainsbourg), still holed up in her new friend Seligman’s spare room, and still telling the long and detailed—but mostly just —story of her sex life.
Commentators were confused by the La Beouf’s behaviour, but I’m rather more puzzled by what directors like von Trier and Oliver Stone see, exactly, in this workmanlike but utterly unremarkable little man; not since Jeremy Davies have I been at such a loss to explain the appeal or point of an actor.(Clearly, neither could he.) But any one of a hundred other actors could have done as well if not better – and since he’s not by any means an A-list star, I’m can’t see that casting him made the film’s financing any easier... Far better is Stellan Skarsgard as Seligman, a rumpled pile of paterfamilial concern.Likewise, as Joe’s beloved father, Christian Slater is surprisingly effective.(Though no women, disappointingly.) And like the Persian queen, she knows how to spin a tale; after the first instalment, about her exploits first as a child and then as a schoolgirl, her self-professedly ‘sexless’ listener admits at least to being intrigued, if not quite aroused. ("This tale," she warns at the outset, "will be long and moral, I’m afraid.") As played by Charlotte Gainsbourg, she’s like Catherine Millet in her autobiography .– dutifully putting numbers on the board, yet deriving little in the way of pleasure from the actual encounters.