On Sunday evening, Icelandic music icon and magical human being Björk revealed that she was sexually harassed by an unnamed “Danish director” several years ago. The revelation came in the wake of over two dozen (and climbing) sexual assault and harassment allegations against disgraced former Hollywood executive Harvey Weinstein. Given that Björk has appeared in relatively few films, and only one of those was helmed by a Danish man, the identity of the unnamed director was easy to deduce: Lars von Trier.
Uma Thurman‘s one-scene appearance in Lars Von Trier’s Nymphomaniac may be the most memorable moment in a film already chockablock with delights. (Fizzled-out threeways! Pitiless spanking! Getting peed on by Shia LaBeouf!) In the chapter simply titled “Mrs. H,” she arrives to find her husband in flagrante delicto with our gal Joe and proceeds to lose her dang mind, screaming her lungs out and bellowing for her children to come see their father in the whoring bed. It‘s an over-the-top moment that starts sad, progresses into discomfort, and ends with cruel hilarity — and it looks like Thurman may deliver more of that unhinged go-for-broke acting sometime soon.
With 2016 drawing to a close, and anticipation for the crop of films coming next year and the year after that, few sound more intriguing than Lars Von Trier’s new project starring Matt Dillon and titled The House that Jack Built. Production will probably start sometime next year, and many of the roles in the film have yet to be cast, but for now we can enjoy a new teaser poster as we wait.
The musical never completely died as a movie genre, but it did lay dormant for a good long while throughout the 1980s and ’90s, with only the occasional throwback like Pennies From Heaven, Newsies, or Everyone Says I Love You popping up, like an old memory. Back then, the movie business largely conceded its tradition of song-and-dance to Disney cartoons and MTV, assuming — wrongly — that the idea of flesh-and-blood actors breaking into big numbers in the middle of narrative feature films had become too cornball for the modern mass audience.