Hard-hitting drama from director Steve McQueen (Hunger). Brandon's (Michael Fassbender) carefully cultivated sex addiction is interrupted by the unannounced arrival of his sister (Carey Mulligan).... More
"Brandon is a New Yorker who shuns intimacy with women but feeds his desires with a compulsive addiction to sex. When his wayward younger sister (Carey Mulligan) moves into his apartment stirring memories of their shared painful past, Brandon's insular life spirals out of control." (Official Synopsis)Hide
BY Aaron-Yap2 Flicks Writer
Steve McQueen’s debut feature Hunger, about the harrowing true story of IRA prisoner Bobby Sands, displayed a particularly strong sense of vision and aesthetic that not only made the dramatisation of Sands’ plight a gut-wrenching experience but also a truly haunting and powerful one. His follow-up, Shame, is similarly downbeat, a grim study of sex addiction that still shows his meticulous attention to sensory details. But unfortunately this time it’s in service of a none-too-interesting fictionalised character and a story that lacks the emotional punch of his first film.... More
It opens well enough establishing the sexual urges and exploits of its protagonist Brandon (Michael Fassbender), a New Yorker whom regularly beds prostitutes, masturbates and consumes porn. McQueen doesn’t go for titillation, shooting with a clinical remove that effectively emphasises Brandon’s existence as devoid of warmth and love. And Fassbender, in all his amply appendaged glory, does his best with a character that inspires little of our sympathy; at best, it’s a bold portrayal of how the relentless pursuit of sex can be both a source of ecstasy and torment.
Shame’s biggest failure is that it doesn’t dig deep enough. Its focus on detachment keeps the audience away from the characters, whom remain frustratingly underdeveloped throughout. When the credits roll, we don’t know much more about Brandon, nor his troubled relationship with his sister Sissy (Carey Mulligan) - a crucial narrative turning point - and this lack of character resolve leaves the film feeling vacuous and lazy rather than provocative and illuminating.Hide
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BY Kenneth nobody
The film follows Brandon (Fassbender) as he struggles with sexual addictions, both real and virtual while at the same time, putting up his sister who has her own set of struggles to deal with. What I love about Shame is that it is truly a representation of a generation who more so then any other, is both personally... More and publicly aware of how messed up things can get as human beings. We seem to know a lot about other peoples problems now, even if we've never experienced or even know of anyone who has experienced them, it's just that it's all out there in the open now. Shame is both sympathetic and empathetic towards Brandon but not too much of either. There are thousands of people in the world like Brandon, and Shame isn't showing him as any less human then the rest of us, the opposite actually. There is a bunch of criticism towards this film in regards to what caused his pain, why is he like this, and people not being able to empathize with a character that they don't know the emotional history of. To me, this wasn't that crucial. Brandon IS like this and the film is about how he has to live with this, and possibly get through it, not about what made him like this in the first place (that could be another film all on its own).
Shame is truly a brief window into a mans world who most viewers won't personally be able to identify with but who can acknowledge that this is a part of who we are. The film doesn't follow the traditional sense of beginning, middle and end and feels deeply fresh, right up till the last minute. The long takes used in the film, the same sort used in Hunger, showcase the casts acting ability and push everything to the limit as now these takes don't just include dialogue but scenes of intimacy too.
Shame left me feeling satisfied as the credits rolled in a dense kind of way that only a film that hits you hard with thought provoking characters can.Hide
BY keeshy superstar
Brandon can't have relationships or make love. He is addicted to sordid brutal, depersonalised f******. The film implies this is an outcome of the worst kind of hard core porn addiction. 'Shame' takes on our hypersexualised times fearlessly and is a profound portrayal of the distortion and damage to those vulnerable. Brandon is a victim, and he is not a freak- there are many Brandon's out there. Don't kid yourself.
Brilliant and provocative movie.
BY TheaterofCommon superstar
Shame is an unadulterated examination of one man's battle with sex addiction and its impact on life, love and work. To some this may seem like a desirable habitual fixation, the reality however seems nothing short of the personal enslavement and dependency you might see in a heroin junkie.
Our protagonist is Brandon (Michael Fassbender) and he is a sex addict. Shame introduces Brandon near the height of his addiction by which time it's clearly apparent that his hyper-sexuality is in overdrive and now a mainstay of his daily routine, a routine of sexual solicitation and handmade satisfaction. His perpetual cycle is interrupted when Sissy (Carey Mulligan) his lugubrious sister comes to live with him. He is made to supress his nocturnal compulsions, pushing his already volatile state of mind over the edge.
In his first film since the exceptional 2008 drama Hunger, Director Steve McQueen offers us a gritty, repulsive and downright filthy examination of human natures capabilities. An actor's director, McQueen demands a lot of his cast; each scene is staged with an eloquent simplicity. Requiring at most two or three setups McQueen allows dialogue to run without the complexity of multiple cuts and camera angles, for me the film's most powerful scenes were 'locked off' one camera shots.
Actor Michael Fassbender (Inglorious bastards) is phenomenal in the role of Brandon; he was able to cut to the core of complex character, as vile as Brandon was I connected with almost everything Fassbender was selling me. Brandon's sexuality obviously sits near the heart of the film, Fassbender was asked to give a lot, and luckily he had A LOT to give. I would say however, whilst Shame is given the most restricted rating on offer in New Zealand, the film adheres to the contrived sexual simulations we have come to expect from cinema movies; anytime Shame deviated from this it seemed little more than to add shock value.
There is a air of indifference about the importance of Sissy in the film - for me whilst nicely acted I saw right through McQueen's thinly veiled attempts to make her relevant - ultimately she becomes an outlet for Brandon's frustrations. There were subtle insinuations about the nature of the brother sister relationship, but left unformed this is of little relevance to our protagonist's development.
All said and done the Shame is beautifully constructed and well-acted film, and for that reason I loved it. The ritualization of sexual addiction and the ugliness that ensues makes for a vexatious cinematic experience: for that reason it's not one I'd want again.Hide
BY Mark-Roulston superstar
Following up on his previous film HUNGER (also starring Fassbender), writer/director McQueen delivers an even more harrowing and haunting film with his sophomore effort. SHAME is a portrait of the vicious routine of addiction, and Fassbender strips himself completely bare, both literally and emotionally, following the arrival of Brandon's sister Sissy (Carey Mulligan). Although only briefly alluded to, clearly Brandon and Sissy come from a nightmarish background of abuse, and each sibling has developed crippling emotional problems as a result. Where Brandon is totally emotionally isolated, unable to connect on anything other than a purely physical level, Sissy craves closeness and love from her brother which he cannot give. Their relationship is unsurprisingly strained; with only the briefest moments of tenderness amongst their uneasy and oddly child-like interactions, and the tragedy of their shared experience has left them each dealing with their demons in completely different ways, leading to heart-breaking conflict. Sissy's appearance shatters Brandon's routine, forcing him to see the train-wreck that his life has become, and Fassbender gives everything in service of the role.
As excellent as Fassbender and Mulligan are, they are more than complemented by McQueen's beautiful directing style. Coming from a visual arts background, naturally his compositions are flawless, and much like HUNGER, SHAME's minimalist dialogue often comes in the form of long takes, adding a sense of unsettling realism which is occasionally difficult to endure. In very Kubrick-ian style, the director's attention to detail in his locations also adds so much to the tone of the story. Brandon's sparsely furnished and decorated apartment works as a perfect counterpart to his character, revealing nothing on the surface yet filled with hidden clues about his addiction, and as such becomes an extension of his personality, making Sissy's presence all the more unwelcome. McQueen's choices of where to focus his camera are fascinating and, coupled with the suggestive imagery and euphemistic dialogue, subtly convey so much of what he wants to say, resulting in one of the most remarkable films of the year. Those expecting a concrete resolution will perhaps walk away disappointed, but for audiences with a high threshold for unpleasantness, SHAME is an absolute must-see.
BY DnA superstar
This movie has layers and subtlety to it. The story centres on a short time in the life of a brother and sister who for their own reasons are struggling with life in different ways. She say's he's a weirdo. That could be due to his preoccupation with sex whether it be girls he's picked up, prostitutes, self stimulation, internet services, books or any source he can find. On the other hand he says she's needy. She seems clingy with a need to be loved and... More wanted.
Our journey follows him at first and the results of them coming together. She alludes to why their lives are this way. Their dysfunction and focus on themselves causes problems that ultimately lead to the close of the movie.
The viewer is left filling in the spaces, wondering what the end meant for him and ultimately her and how they both ended up in this place.
I wondered if the movie could have benefitted from being more sexually explicit but realized this was never about love for him.
It's an interesting movie and portrayal. Some people may want a bit more told but for me that's the beauty of it.Hide
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