Mental Illness done with an outsider looking in. The trauma in their childhood must have been great for these two to suffer what the viewer is witnessing. Any addiction is difficult to watch. I was exhausted after watching this film. Like a hunter Brandon's thirst could never be quenched. He is existing not living. There are so many facets to this fim that are interesting: the boss David's ability to have a family and indulge in sex on the side, people's willingness to go to a bar and have sex with a stranger and then go on with their lives, unaffected. Yet Brandon, with no ties to anyone, is smoldering and suffocating in the weight of his obsession. A good study in human behavior. I don't like sex in film for sensationalism but the sex in this film was like another character, the antagonist.
508 Reviews
Depression in its rawest form
jayjaycee24 November 2020
Warning: Spoilers
"Shame" is 2011 drama directed by Steve McQueen starring Michael Fassbender and Carey Mulligan.
⚪
All in all, Steve McQueen's agonising drama reveals the rawest and most vulnerable sides of a depressive sex addict in a crushingly gritty manner, and performs a balancing act between realistically excruciating beauty and disgusting perversity, and due to a powerful lead performance by Michael Fassbender, a shatteringly natural screenplay and McQueen's empathetic direction, it becomes an indescribably melancholic and utterly depressing striptease of the ambiguous kind.
⚪
Will there ever be a time when the name Steve McQueen isn't automatically associated with great films? Well, while the name used to referred to one of the most charismatic action stars of the sixties and seventies, to the King of Cool who produced some revolutionary features, it nowadays refers to a man who made himself a name in another genre. Steve Rodney McQueen, a man born during his namesake's golden era, is responsible for some highly acclaimed dramas of the last few years, most prominently for the historical feature "12 Years A Slave". However, before he received his well-deserved Oscar for this film, he directed "X-Men" star Michael Fassbender in two other features, the Bobby Sands biopic "Hunger" and this title here. While I cannot say much about the first, I can guarantee you that this one here definitely packs a punch and knows to shake you in the very foundations. I don't know if there is such a sub-genre called "feel bad movies", but if there is, this title definitely would fall in the category, because it is just painful. The thing is, it is not the kind of pain you experience when watching one of the worse Adam Sandler titles, it is the one you can relate to since it is so utterly realistic. Michael Fassbender breathtakingly portrays Brendon Sullivan, a successful businessman with a decent job, a great apartment and seemingly with no worries at all. Well, that is what it is on the outside, because under the surface of this outwardly handsome and perfect man a tremendous turmoil lies dormant. Brendon is a sex addict who spends most of his time with drive satisfaction. From pornographic material on his laptop, over musturbation to random sexual encounters with prostitutes, he experiences all of it. One might think that he is happy leading his life in a way Hugh Hefner would be proud of, but it is quite the contrary. Despite of all the sexual activities his life is defined by, he is anything but blissful, because even though it is never formally mentioned, he suffers from depression. You don't have to be an expert to take notice of this, because it is evident, nevertheless. In this film, Fassbender bares it all, and I am not only talking about the fact that we get to see Magneto's rod on multiple occasions. Regardless of the graphic nudity and sex scenes, the film's main focus doesn't lie on it at all and only serves as an admittedly drastic but tremendously effective narrative device. Just like hand on hand combat is only a means to an end in "Fight Club", sexual activities are only there to veil the true meaning behind what is depicted. In general, it is a character study about a seemingly carefree man living as a bachelor in New York City, but on the inside it is a crushing examination of an addict who tries to cope with his past and other problems that burden him. As already mentioned above, it is never explicitly expressed that he is suffering from depression, but over the course of the film and almost casually, we learn about minimal details about the past of Brendon and his sister Sissy (equally outstandingly played by Carey Mulligan) that explain his behaviour. As the title perfectly suggests, it is about shame in its rawest form. All the sexual activities he engages in are only a way to temporarily drown out the void that haunts him inside, and even if it is far from perfect, it works out in a basic way for him. Until his sister arrives. The imperfect but functioning life he has established comes apart at the seams when she enters this troubled construct, simply because she reminds him of the haunted past too much. Involuntarily, he is supposed to cope with his and with his sister's problems, but you can tell by the look on his face that he is simply unable to master this task. In order to regain the control over his life, he then tries to escape from the cesspool of meaningless sex by dating his co-worker, but eventually learns that healthy relationships and true affection are two things he is incapable. He cannot reciprocate those two human emotions, since his past has scarred him irreparably, and Fassbender conveys this creeping realization and frustration gut-wrenchingly. Only after the attempted suicide of his sister (the most devastating sequence of this drama), he apparently begins to revaluate what is really important in his life, the relationship to his sister included. After having a mental breakdown (the peak of his powerhouse performance!), he encounters the woman on the subway again, the one that he chased after in the beginning despite knowing that she is married. The last shot, him speculating whether he should do it or not, this ambiguity, perfectly rounds up the drama. Will he go back to what he has been, or will he be better than before? The audience is left out in the cold, as then the credits begin to roll, and you don't know if history repeats itself or not. In the end, this film hit me more than I expected it to do. Of course, I was anticipating sadness, but this was just pure depression in blue colours. Raw, unadulterated and absolutely stopping at nothing. It's a soul striptease that also literally strips naked and knows no taboos. Cinema is rarely this devastatingly depressing, and I take my hat off to this brutally realistic gem. Treat it with extreme caution.
An expertly crafted and shocking film that will divide audiences
DonFishies24 September 2011
Warning: Spoilers
Despite having never seen Steve McQueen's Hunger, the smouldering and sensational acclaim for Shame was simply unreal. Having heard terrific things about the film, I ventured out and snagged a last minute ticket to the premiere at the Toronto International Film Festival. Weeks later, I am still trying to decipher what may be one of the most shocking and raw films I have seen in quite some time.
The titular Shame in question is what Brandon (Michael Fassbender), a posh yuppie living in New York City, must live with every day. He is a sex addict, and his addiction knows no bounds. His estranged sister Sissy (Carey Mulligan) has also just dropped by his apartment for an extended stay, making things all the worse.
The plot may not sound like much, because there really is not all that much to it storywise. Shame is more of a portrait of a man struggling with his inner demons than it is anything else. There is a story at its very core, but the primary focus is always on Brandon, his addiction and what boundaries and limits it pushes him to. I had read about some of the more "unconventional" and decidedly non-mainstream sexual escapades (for lack of a better word) Brandon gets himself into, but I was still incredibly surprised and downright shocked by just how far McQueen goes with this character. He is brazen and uninhibited in what he shows on screen, bravely defying the conventions of what we typically can and cannot see in mainstream cinema. McQueen does not shy away from hard truths, and does not even try to mask the explicit nature of some of the sexual acts. Seeing how far Brandon will go to satisfy and suppress himself is simply harrowing, not unlike films like Trainspotting and Requiem for a Dream were with their characters' drug addictions.
While the film and its frank depiction of sexuality are sometimes difficult to watch, I found myself mesmerized by the choreography and cinematography at play throughout. McQueen frames the film with the audience in the position of a voyeur. Early on, we see Brandon's morning routine, featuring Fassbender roaming around his chic apartment totally naked. We see him at his most honest and his most vulnerable, a man who is unable to hide the truth about himself. Later, we watch him as he interacts with his office co-workers from behind huge glass windows, and from a table across from him at a restaurant while he is on a date. McQueen uses a lot of unbroken shots to help depict this slice of Brandon's life through tracking shots and an immense amount of long shots. They help set the very somber mood, and allow the audience to continue watching as if they were an actual character peering into the events that transpire for him. McQueen also expertly uses music to help dictate the action on screen, tearing away the dialogue or sounds of the scene. It makes for an awkward feeling, but one that evokes a response with every new scene.
But for all of the shock and audacity, McQueen still managed to make a deeply troubled film that leaves a lot unsaid, and even more unresolved. He does not give out simple answers for what causes Brandon's addiction, or even the reasoning behind the troubled and strained relationship between Brandon and Sissy. While leaving some things enigmatic and up to the viewers to decide (many have already voiced their concerns regarding incest, which seem a bit too outrageous for this kind of film) is incredibly intriguing and help further propel the voyeuristic means of viewing the film, it also makes for maddening thoughts afterwards. What exactly is McQueen trying to say? What is the point he is trying to make? It all feels like it builds towards nothing outside of an unsatisfying and deludingly ambiguous climax. As mentioned earlier, it feels like the story and just about everything else came second to the portrait he wanted to paint through Fassbender's canvas. I can appreciate the film as it is, but it makes it hard to love it the way I thought I would.
Fassbender is stunning as Brandon, magnetizing the audience from the beginning all the way to the end. He propels the film, using his reactions and emotions to define the character. He makes Brandon's struggle one that is very real, and almost horrific. He is unable to feel intimacy, and watching him struggle to fulfill his urges is fascinating and deeply disturbing all at once. Watching his face through candid closeups, you can see just how much raw power went into the role. But while it is a stellar and tortured performance that more than proves his weight as an up and coming actor, I never found him to be nearly as incredibly impressive as we know he can be. I still find myself at odds with how great it was, and how much greater it could have been.
While James Badge Dale is effective in his small role as Brandon's smarmy and sleazy boss David, it is Mulligan who truly compliments Fassbender. Her role does not ask a whole lot of her, but her pained expressions and infinite desire to be loved by everyone is more than enough to make this a memorable turn for her. While the full frontal nudity was near useless, I only wish that she could have done more.
Shame is a very well done film, but one that will divide audiences. On one hand, it is an expertly crafted film about addiction that packs a great lead performance. On the other hand, it is a maddening film that answers very little it asks and sometimes shocks just for the sake of it. It is an impressive feat for a second feature, but one that I think could have been even better.
8/10.
The titular Shame in question is what Brandon (Michael Fassbender), a posh yuppie living in New York City, must live with every day. He is a sex addict, and his addiction knows no bounds. His estranged sister Sissy (Carey Mulligan) has also just dropped by his apartment for an extended stay, making things all the worse.
The plot may not sound like much, because there really is not all that much to it storywise. Shame is more of a portrait of a man struggling with his inner demons than it is anything else. There is a story at its very core, but the primary focus is always on Brandon, his addiction and what boundaries and limits it pushes him to. I had read about some of the more "unconventional" and decidedly non-mainstream sexual escapades (for lack of a better word) Brandon gets himself into, but I was still incredibly surprised and downright shocked by just how far McQueen goes with this character. He is brazen and uninhibited in what he shows on screen, bravely defying the conventions of what we typically can and cannot see in mainstream cinema. McQueen does not shy away from hard truths, and does not even try to mask the explicit nature of some of the sexual acts. Seeing how far Brandon will go to satisfy and suppress himself is simply harrowing, not unlike films like Trainspotting and Requiem for a Dream were with their characters' drug addictions.
While the film and its frank depiction of sexuality are sometimes difficult to watch, I found myself mesmerized by the choreography and cinematography at play throughout. McQueen frames the film with the audience in the position of a voyeur. Early on, we see Brandon's morning routine, featuring Fassbender roaming around his chic apartment totally naked. We see him at his most honest and his most vulnerable, a man who is unable to hide the truth about himself. Later, we watch him as he interacts with his office co-workers from behind huge glass windows, and from a table across from him at a restaurant while he is on a date. McQueen uses a lot of unbroken shots to help depict this slice of Brandon's life through tracking shots and an immense amount of long shots. They help set the very somber mood, and allow the audience to continue watching as if they were an actual character peering into the events that transpire for him. McQueen also expertly uses music to help dictate the action on screen, tearing away the dialogue or sounds of the scene. It makes for an awkward feeling, but one that evokes a response with every new scene.
But for all of the shock and audacity, McQueen still managed to make a deeply troubled film that leaves a lot unsaid, and even more unresolved. He does not give out simple answers for what causes Brandon's addiction, or even the reasoning behind the troubled and strained relationship between Brandon and Sissy. While leaving some things enigmatic and up to the viewers to decide (many have already voiced their concerns regarding incest, which seem a bit too outrageous for this kind of film) is incredibly intriguing and help further propel the voyeuristic means of viewing the film, it also makes for maddening thoughts afterwards. What exactly is McQueen trying to say? What is the point he is trying to make? It all feels like it builds towards nothing outside of an unsatisfying and deludingly ambiguous climax. As mentioned earlier, it feels like the story and just about everything else came second to the portrait he wanted to paint through Fassbender's canvas. I can appreciate the film as it is, but it makes it hard to love it the way I thought I would.
Fassbender is stunning as Brandon, magnetizing the audience from the beginning all the way to the end. He propels the film, using his reactions and emotions to define the character. He makes Brandon's struggle one that is very real, and almost horrific. He is unable to feel intimacy, and watching him struggle to fulfill his urges is fascinating and deeply disturbing all at once. Watching his face through candid closeups, you can see just how much raw power went into the role. But while it is a stellar and tortured performance that more than proves his weight as an up and coming actor, I never found him to be nearly as incredibly impressive as we know he can be. I still find myself at odds with how great it was, and how much greater it could have been.
While James Badge Dale is effective in his small role as Brandon's smarmy and sleazy boss David, it is Mulligan who truly compliments Fassbender. Her role does not ask a whole lot of her, but her pained expressions and infinite desire to be loved by everyone is more than enough to make this a memorable turn for her. While the full frontal nudity was near useless, I only wish that she could have done more.
Shame is a very well done film, but one that will divide audiences. On one hand, it is an expertly crafted film about addiction that packs a great lead performance. On the other hand, it is a maddening film that answers very little it asks and sometimes shocks just for the sake of it. It is an impressive feat for a second feature, but one that I think could have been even better.
8/10.
Does To Sex What 'Requiem For A Dream' Did To Drugs
CinemaClown5 October 2013
Steven McQueen's sophomore effort is a powerfully compelling, unflinchingly graphic & downright disturbing arthouse endeavour that shows that something even as coveted as sex can have destructive consequences if the need for it spirals out of control. Powered by sturdy performance from Michael Fassbender, Shame does to sex what Billy Wilder's The Lost Weekend did to alcohol and Darren Aronofsky's Requiem for a Dream did to drugs.
Shame
dillylamar27 April 2020
Steve McQueen's delivers a realistic and vivid film about sex addiction, anger, self loathing, fear, loneliness, and the meaning or lack of meaning of relationships. Shame's premise is not depicted in film very often, which makes it a very unique effort as well. Micheal Fassbender's performance as sex addict is brillant, as he gives the audience his character's fear, self hatred, anger, and loneliness in full perspective. Carey Mulligan also gives a stellar performance as a needy, dependent, and affectionate musician. Steve McQueen directs this film in a laid back yet ruthless way, as Shame pits into darkness and trauma with somewhat of an elegance, while still maintaing a manic aesthetic. Narratively, Shame can get breifly lost at points, but Overall, McQueen's film is a honest and realistic depiction, with one great performance, and a good one as well. Shame is a small film, but can bring about emotions, panic, trauma, and darkness in a evocative and grim way.
Actions Speak Louder than Words
coolnazgul14 December 2011
I am truly shocked by the people criticizing this film for lack of substance. I've seen comments about how there is limited dialogue, and therefore no character development, and hardly any story. Did we watch the same film? I'm thinking we must not have.
Shame dives into the life of a man living with an addiction to sex. The first 10 minutes of this movie effectively introduces him, his addiction, his relationship with humanity (sister included), and barely uses any words to do so. You shouldn't need a lot of dialogue when emotions are conveyed with facial expressions, effective cinematography, and great editing. This film is loaded with all of that.
Obviously films are subjective, but I feel those who say they didn't get to "know' the characters at all must always need everything spoon fed to them. I am not a sex addict, but still connected with both Fassbender and Mulligan. I found the development both subtle and extremely realistic. Does everything need to always have that Hollywood ending? Should everything get wrapped up nicely and leave you with a warm and fuzzy feeling when you walk out of the theater? I definitely don't think so.
Anybody who does need that probably shouldn't watch any Steve McQueen films. Anyone who can appreciate a raw, subtle, and beautifully made film should go watch Shame.
Shame dives into the life of a man living with an addiction to sex. The first 10 minutes of this movie effectively introduces him, his addiction, his relationship with humanity (sister included), and barely uses any words to do so. You shouldn't need a lot of dialogue when emotions are conveyed with facial expressions, effective cinematography, and great editing. This film is loaded with all of that.
Obviously films are subjective, but I feel those who say they didn't get to "know' the characters at all must always need everything spoon fed to them. I am not a sex addict, but still connected with both Fassbender and Mulligan. I found the development both subtle and extremely realistic. Does everything need to always have that Hollywood ending? Should everything get wrapped up nicely and leave you with a warm and fuzzy feeling when you walk out of the theater? I definitely don't think so.
Anybody who does need that probably shouldn't watch any Steve McQueen films. Anyone who can appreciate a raw, subtle, and beautifully made film should go watch Shame.
A movie misunderstood
Shokani17 December 2023
Warning: Spoilers
Brandon chooses to hire escorts to avoid the constraints and compromises inherent in traditional relationships aligns with his character's aversion to restrictions. The film does portray him as someone resistant to emotional entanglements and unwilling to conform to societal expectations.
He values his freedom and autonomy, which he perceives as compromised in conventional relationships.
He cries on the pavement because his lifestyle is out of control,he wants to stop and yet he can't because he knows he will be back to it again
His perversion reached new levels when he engaged in MSM with people he had no idea about
His sister,Sissy, is no exception,she was willing to cut her wrists in her brothers attempt to force him to be with her and Brandon knows about this,shown when he used vitopersory language on the couch with her, lamenting on her tactics when he said to her she trapped him.
But the fact that she was willing to go as far as to take her own life,well that suggests It suggests a profound desire for connection and a fear of losing the only significant bond she seems to have, even if it means resorting to drastic measures.
Perhaps this could be due to her upbringing and could be exacerbated when they moved to NYC when was in her teenagehood from Ireland when everything is different,bullying could be a source.
She wants to be seen,wants to be noticed,wants to be heard,maybe this is why she chose to be a singer,they did mention that they came from a large family and the isolation she feels celebrated in the west as "independence"is something she doesn't agree with but has to forcefully accept because her brother agrees with that sentiment.
Brandon comes to an isolated apartment with no family,If he got a wife,he would be forced to conform to western societal expectations,if he doesn't get,his apartment is empty and he has no release for his desires,self stimulation can only take him for so long,his need for emotional connection and his need for unrestrained physical connection contradict each other and he developed cognitive dissonance which he tries to solve but fails to so he loses himself
Shame 2011 is a movie that shows what isolation and unremitting attention can do do to someone in a society that encourages people to separate from their family siblings because they are "adults" and hence should have their own homes when in reality,there's no 1 way to live your life and nothing bad happens when you go against what western society has said.
He values his freedom and autonomy, which he perceives as compromised in conventional relationships.
He cries on the pavement because his lifestyle is out of control,he wants to stop and yet he can't because he knows he will be back to it again
His perversion reached new levels when he engaged in MSM with people he had no idea about
His sister,Sissy, is no exception,she was willing to cut her wrists in her brothers attempt to force him to be with her and Brandon knows about this,shown when he used vitopersory language on the couch with her, lamenting on her tactics when he said to her she trapped him.
But the fact that she was willing to go as far as to take her own life,well that suggests It suggests a profound desire for connection and a fear of losing the only significant bond she seems to have, even if it means resorting to drastic measures.
Perhaps this could be due to her upbringing and could be exacerbated when they moved to NYC when was in her teenagehood from Ireland when everything is different,bullying could be a source.
She wants to be seen,wants to be noticed,wants to be heard,maybe this is why she chose to be a singer,they did mention that they came from a large family and the isolation she feels celebrated in the west as "independence"is something she doesn't agree with but has to forcefully accept because her brother agrees with that sentiment.
Brandon comes to an isolated apartment with no family,If he got a wife,he would be forced to conform to western societal expectations,if he doesn't get,his apartment is empty and he has no release for his desires,self stimulation can only take him for so long,his need for emotional connection and his need for unrestrained physical connection contradict each other and he developed cognitive dissonance which he tries to solve but fails to so he loses himself
Shame 2011 is a movie that shows what isolation and unremitting attention can do do to someone in a society that encourages people to separate from their family siblings because they are "adults" and hence should have their own homes when in reality,there's no 1 way to live your life and nothing bad happens when you go against what western society has said.
Addiction up close and personal
moviemanMA15 January 2012
Shame, the real feel bad movie of the year, is only McQueen's second feature film to date. His first film, Hunger, focused on a man who made his life very public when he went on a hunger strike during the 1981 Irish Hunger Strikes. In Shame, McQueen dissects the very personal and often shocking sexual addiction of Brandon Sullivan (Michael Fassbender). Brandon is a well off business man. He has an apartment in New York where he leads a seemingly good life, but hides a dark secret that is on the verge of destroying him. His sex addiction has gone out of control. To make this even more difficult, his sister drops in unexpected and crashes at his place (played by Carey Mulligan). Her lifestyle begins to interfere with his addiction, forcing him to take drastic measures.
Every waking moment is spent towards achieving one goal: orgasm. We see him smile, laugh, engage socially, but when he is alone he is focused, like a junkie going through the routine of drug addiction. Brandon's tools aren't lighters, spoons, and rubber ties. He uses prostitutes, Internet pornography, magazines, or his imagination. Even at work his mind wanders off, either at a passing coworker or something he has looked up on his computer. This is far from a private matter. His addiction is slipping into the open and he knows it. We assume he is aware of his problem. At the beginning of the film we see Brandon lying naked in bed, the sheet pulled over his private area. He lies motionless, only staring at the ceiling above, breathing in and out as if he knows that today is going to be a long day. We know he's not thinking about work. He has one thing and one thing only. Sex.
Most people associate sex with pleasure. I'm sure Brandon has at one time or another had a pleasurable experience during intercourse, but he is long past that stage. During a scene on the subway he spots a woman. She's an attractive woman. She's alone. Vulnerable. She eyes Brandon staring back at her. The two have chemistry. In silence they are mentally engaging each other. His stare never wavers, he just scans her up and down. Suddenly her face changes. She gets up, showing the audience her wedding band. We can feel her shame for flirting with Brandon. He gets up and stands behind her. He follows her out of the train only to lose her in the crowd. His disappointment isn't so much in relation to not getting to know her, but that he will have to continue his search for sex elsewhere.
Brandon is a tragic character. His only connection with people is linked with sex. How will this person help or interfere with me reaching my goal of orgasm? Brandon's limit's knows no bounds. Fassbender, who also appeared in McQueen's Hunger, gives a fascinating performance. It is fearless both in the sense that it is a physically challenging role and that he accomplishes the role with such honesty. He could have played it like some debonair businessman just looking to score. Fassbender knows that his character is truly disturbed. He knows that if people found out about his condition he would be ostracized. He also knows that he needs help and won't get it. All of these factors come into play and create an incredible performance. Much like Gosling pulled off in Drive, Fassbender uses his eyes and body language to express how he feels.
Pain is a word often associated with addiction. We see videos of addicts going through withdrawals in health class. They kick, scream, shake, vomit. Evidence of a sickness in the body. Fassbender's character also shows great pain and uneasiness. During times of sheer euphoria, at least for a normal person, Fassbender gives us pain and suffering. He can't help what he's doing but he needs it to stay normal.
Along with Fassbender is Mulligan, another one of today's rising stars. Her character is rebellious, dependent, and loving. She wants nothing more than to find someone to care for her and to spend time with her brother. Her brother is too involved with his addiction and her taste in men and willingness to fall in love with them brings her down even more. She plays a girl on the edge of a breakdown and really shines on screen. Like Fassbender, she gives her all for the role, exposing her true colors.
In just two films McQueen has established himself as a major player in the art house scene. Both films are festival favorites with critical praise, but the general public isn't ready for his heavy storytelling. With hope (and some financial backing) he will continue to make the films he wants to make and hopefully garner enough praise here in the states to win over more of the public. It's going to be hard if he keeps getting NC-17 ratings.
Every waking moment is spent towards achieving one goal: orgasm. We see him smile, laugh, engage socially, but when he is alone he is focused, like a junkie going through the routine of drug addiction. Brandon's tools aren't lighters, spoons, and rubber ties. He uses prostitutes, Internet pornography, magazines, or his imagination. Even at work his mind wanders off, either at a passing coworker or something he has looked up on his computer. This is far from a private matter. His addiction is slipping into the open and he knows it. We assume he is aware of his problem. At the beginning of the film we see Brandon lying naked in bed, the sheet pulled over his private area. He lies motionless, only staring at the ceiling above, breathing in and out as if he knows that today is going to be a long day. We know he's not thinking about work. He has one thing and one thing only. Sex.
Most people associate sex with pleasure. I'm sure Brandon has at one time or another had a pleasurable experience during intercourse, but he is long past that stage. During a scene on the subway he spots a woman. She's an attractive woman. She's alone. Vulnerable. She eyes Brandon staring back at her. The two have chemistry. In silence they are mentally engaging each other. His stare never wavers, he just scans her up and down. Suddenly her face changes. She gets up, showing the audience her wedding band. We can feel her shame for flirting with Brandon. He gets up and stands behind her. He follows her out of the train only to lose her in the crowd. His disappointment isn't so much in relation to not getting to know her, but that he will have to continue his search for sex elsewhere.
Brandon is a tragic character. His only connection with people is linked with sex. How will this person help or interfere with me reaching my goal of orgasm? Brandon's limit's knows no bounds. Fassbender, who also appeared in McQueen's Hunger, gives a fascinating performance. It is fearless both in the sense that it is a physically challenging role and that he accomplishes the role with such honesty. He could have played it like some debonair businessman just looking to score. Fassbender knows that his character is truly disturbed. He knows that if people found out about his condition he would be ostracized. He also knows that he needs help and won't get it. All of these factors come into play and create an incredible performance. Much like Gosling pulled off in Drive, Fassbender uses his eyes and body language to express how he feels.
Pain is a word often associated with addiction. We see videos of addicts going through withdrawals in health class. They kick, scream, shake, vomit. Evidence of a sickness in the body. Fassbender's character also shows great pain and uneasiness. During times of sheer euphoria, at least for a normal person, Fassbender gives us pain and suffering. He can't help what he's doing but he needs it to stay normal.
Along with Fassbender is Mulligan, another one of today's rising stars. Her character is rebellious, dependent, and loving. She wants nothing more than to find someone to care for her and to spend time with her brother. Her brother is too involved with his addiction and her taste in men and willingness to fall in love with them brings her down even more. She plays a girl on the edge of a breakdown and really shines on screen. Like Fassbender, she gives her all for the role, exposing her true colors.
In just two films McQueen has established himself as a major player in the art house scene. Both films are festival favorites with critical praise, but the general public isn't ready for his heavy storytelling. With hope (and some financial backing) he will continue to make the films he wants to make and hopefully garner enough praise here in the states to win over more of the public. It's going to be hard if he keeps getting NC-17 ratings.
Family dysfunction
stevelomas-6940121 December 2019
It's not about sex, it's about shame
Edd-N-Furter28 March 2012
Brandon's life is almost perfect: a steady job, a nice apartment, good friends and women adore him. But something prevents Brandon from having a relationship that lasts more than four months, this incapacity is due to the fact that Brandon is a sex addict: to casual encounters with strangers and prostitutes, to pornography (both during and after working hours), to masturbation. And to some extent he seems to have his addiction under control, until her sister Sissy arrives unexpectedly looking for a place to live for a while.
British director Steve McQueen delivers a fascinating character study that explores how modern life (in which new technologies play a major role), increasingly isolates people and makes them unable to establish emotional bonds with others. In Brandon's case, a hunter in search of pleasure and not love, the arrival of his sister will turn him into a prey of his own emotions and will make him face his reality.
One aspect that has caused controversy is the way so raw and explicit to show Brandon's sexual encounters, however this becomes a necessary element, since it is through them that you can see Brandon's need and desperation as Sissy is more involved in his life. Special mention deserves the dynamics established between them, since it is fully nuanced and can even be uncomfortable to witness but is devastatingly emotional (especially in the last minutes of the story).
However, the most important element for the success of the film lies in the performances: in the hands of less committed actors Brandon and Sissy's conflicts would be unconvincing, but McQueen wisely chooses Michael Fassbender (both had previously worked together on Hunger), who literally bares body and soul to take Brandon's emotions to the limit and does it so impressively in a brave and courageous performance (and unfortunately the Academy possibly considered too intense for consideration in their nominations). Meanwhile Carey Mulligan proves to be one of the young actresses with the best prospects and acting range nowadays: her rendition of the classic song New York, New York is an utter delight as well is one of the best scenes in the film.
Shame, in the end (as in most character studies) does not seek to create empathy for the characters, but rather wants us to reflect and ask ourselves how we would react in similar situations.
British director Steve McQueen delivers a fascinating character study that explores how modern life (in which new technologies play a major role), increasingly isolates people and makes them unable to establish emotional bonds with others. In Brandon's case, a hunter in search of pleasure and not love, the arrival of his sister will turn him into a prey of his own emotions and will make him face his reality.
One aspect that has caused controversy is the way so raw and explicit to show Brandon's sexual encounters, however this becomes a necessary element, since it is through them that you can see Brandon's need and desperation as Sissy is more involved in his life. Special mention deserves the dynamics established between them, since it is fully nuanced and can even be uncomfortable to witness but is devastatingly emotional (especially in the last minutes of the story).
However, the most important element for the success of the film lies in the performances: in the hands of less committed actors Brandon and Sissy's conflicts would be unconvincing, but McQueen wisely chooses Michael Fassbender (both had previously worked together on Hunger), who literally bares body and soul to take Brandon's emotions to the limit and does it so impressively in a brave and courageous performance (and unfortunately the Academy possibly considered too intense for consideration in their nominations). Meanwhile Carey Mulligan proves to be one of the young actresses with the best prospects and acting range nowadays: her rendition of the classic song New York, New York is an utter delight as well is one of the best scenes in the film.
Shame, in the end (as in most character studies) does not seek to create empathy for the characters, but rather wants us to reflect and ask ourselves how we would react in similar situations.
Not worth the hype.
alangsco24 January 2012
I was really looking forward to seeing 'Shame' because one, i'd seen a lot of critics headlines lauding it as the film of the year, and two, because I like a lot of Michael Fassbender's work. I was expecting something explosive and original and unfortunately left feeling disappointed.
Sure, the acting is good and Fassbender is believable in the role, but I didn't find the story interesting or particularly thought-provoking. Sex addiction seems to be the latest celebrity or sports-star fad and to take it seriously as a real problem or illness is impossible for me to imagine. Obviously there are hints at a rough childhood for Brandon and his sister but, if anything, Sissy's life and character could have been explored a lot more as she seems so much more interesting.
To sum up the acting was fine and the movie looks good, but the weakness of the story was a major weakness. Some of Fassbender's previous movies such as Fish Tank or Eden Lake make far more interesting social commentaries.
Sure, the acting is good and Fassbender is believable in the role, but I didn't find the story interesting or particularly thought-provoking. Sex addiction seems to be the latest celebrity or sports-star fad and to take it seriously as a real problem or illness is impossible for me to imagine. Obviously there are hints at a rough childhood for Brandon and his sister but, if anything, Sissy's life and character could have been explored a lot more as she seems so much more interesting.
To sum up the acting was fine and the movie looks good, but the weakness of the story was a major weakness. Some of Fassbender's previous movies such as Fish Tank or Eden Lake make far more interesting social commentaries.
Michael Fassbender is insanely brilliant.
Nahid_1528 August 2020
"We're not bad people. We just come from a bad place."
The film is profoundly sad. It brilliantly depicts what is the true effect of addiction. How it sucks the life out of someone until they are forced to give in to their desire, thus becoming just a hollow shell of a person. The whole thing has an unsettling vibe to it, and the color tone and cinematography do help the story to move forward. Steve McQueen as a director really shines here. He tells the story with subtlety, like there some scenes where the characters don't say much, and he relies on visuals to do the work.
As for the acting, Michael Fassbender is insanely brilliant as he is in all of his other films. This role requires a lot from him like he has to be charismatic, also has to bring a sense of vulnerability to the character which he does amazingly. Carey Mulligan's character is sort of this broken person who clearly has a past with her brother, at least that's what I got from some of their awkward encounters.
It's kind of a tough film to sit through, so it's not recommended for everyone.
The film is profoundly sad. It brilliantly depicts what is the true effect of addiction. How it sucks the life out of someone until they are forced to give in to their desire, thus becoming just a hollow shell of a person. The whole thing has an unsettling vibe to it, and the color tone and cinematography do help the story to move forward. Steve McQueen as a director really shines here. He tells the story with subtlety, like there some scenes where the characters don't say much, and he relies on visuals to do the work.
As for the acting, Michael Fassbender is insanely brilliant as he is in all of his other films. This role requires a lot from him like he has to be charismatic, also has to bring a sense of vulnerability to the character which he does amazingly. Carey Mulligan's character is sort of this broken person who clearly has a past with her brother, at least that's what I got from some of their awkward encounters.
It's kind of a tough film to sit through, so it's not recommended for everyone.
the Distancing Effect as Technique; a film aptly titled
tigerlily122123 January 2012
Warning: Spoilers
Many reviews here struggle with motive, a seemingly absent backstory on Brandon and Cissy, comparisons between the two main characters' use and misuse of intimacy. Further critical reviews either praise this film as 100% character study or they also write that it fails 100% at character study, owed largely to the lack of backstory. Critics 'vent their spleen' in anger that the film is too painterly, too pretense and posture, contributing no sense of empathy with Brandon or Cissy. Well folks, I put it to you that this is not narrative, not a character study, not a film about sex, not a film like any that we've been presented in a long time. In my opinion, this is the Verfremdungseffekt from Brecht (google or wiki this, translation often presents it as "alienation" or "distancing" effect) and I believe that this is the byproduct of this film, to a tee. Our director McQueen has created something of an experiment in which the viewer is an unwitting accomplice, similar to Hanneke, in which we are given views into our character in his natural environment. He is not completely likable, nor is his condition. We are watching Brandon at his most vulnerable moments, doing things that (from the visual signals written on his face) he does not enjoy as pleasure but performs continually in the quest for satisfaction. And we're watching him, in his bed, in his bathroom, in thrall to these physical drives, and we watch him again struggling, we're starting to think that it's a little uncomfortable to see this man, who is meant to be a success in our society, as he betrays our expectations of him over and over again. Does this sound like how you view an alcoholic or drug addict? Why are we watching, as in the theatre seat one thinks to oneself, 'yes, this is not a good movie for a first date.' I don't even know if I'd tell my mother I'd watched this. I'd be too ashamed: there. You were accomplice, you viewed passively and felt repulsion for your anti-hero.
Wikipedia writes of the Verfremdungseffekt: "being thus 'distanced' emotionally from the characters... the audience could be able to reach ... a level of understanding... while alienated emotionally from the action and the characters.. and empowered on an intellectual level both to analyze and perhaps even to try to change the world."
So perhaps McQueen has created Shame, to induce shame, to charge you with doing something about it. Not a character study, not at all.
Wikipedia writes of the Verfremdungseffekt: "being thus 'distanced' emotionally from the characters... the audience could be able to reach ... a level of understanding... while alienated emotionally from the action and the characters.. and empowered on an intellectual level both to analyze and perhaps even to try to change the world."
So perhaps McQueen has created Shame, to induce shame, to charge you with doing something about it. Not a character study, not at all.
Very disappointing story, good actor
madmask131 January 2012
Warning: Spoilers
Masterpiece? Really? I had expectations after seeing the trailer and having seen Fassbender play in other movies, but boy was I disappointed! Not by the actors, even though I thought Carey Mulligan was better in other movies, Michael Fassebender is actually the only good thing I kept from the movie. Thhe story doesn't go anywhere in my opinion. McQueen only gives glimpses of few things that are abandoned right away like his relationship to his colleague, his family past, his sister (wasn't it the center point of the movie, to have a situation where she disturbs everything? she's not present enough for me). I would have preferred to have shorter or fewer sex scenes (all the sex showed does not serve the story that much after a while we've seen it all!) and more deeper views on Brandon's relationships.
I don't mind to see a dark movie (actually I usually appreciate it), or a slow movie where it's more about contemplating, getting close to the characters to feel what it's about. But "Shame" didn't get me at all, I was just glad when it was over, a bit mad to have paid a ticket, and very disappointed.
I don't mind to see a dark movie (actually I usually appreciate it), or a slow movie where it's more about contemplating, getting close to the characters to feel what it's about. But "Shame" didn't get me at all, I was just glad when it was over, a bit mad to have paid a ticket, and very disappointed.
Shame is the title but is it really the crux of it?
laura_macleod14 February 2012
Warning: Spoilers
There are stories that are about life and all the aspects of life itself and then there are stories that are less like stories and more like studies of people and psychological issues.These kinds of films often leave the viewer with a sense of loss - precisely what Shame does - it brings the viewer into the depth of severe psychological disturbance in two particular individuals and makes one feel the loss that is consuming these people. Brother and sister; obviously victims of sex abuse in childhood of some order - and their current lives and dysfunction. Fassbender plays a man off the scale with severe emotional trauma that manifests itself in constant sex addiction - he is in break down. His sister, played by Mulligan is also in breakdown - the interesting family dynamic that is seen between siblings in abuse cases - they love/hate each other and are left to do the parenting which can never work. Some viewers will find the cold hearted sex scenes at time repetitive and indeed they are. But McQueen is clever in that he brings the viewer on a journey to see the severity of the addiction and all the forms it manifests in - leaving the protagonist tortured, exhausted and haunted. The added burden he takes on, is wanting to be the protector of his sister and then rejecting it - obviously he failed in protecting her in childhood and it still remained in the form of guilt. Often dysfunctional parents do a very heinous crime, in that they project on the children they are abusing ,that it is their fault - thus the long journey to break away and the healing process to even begin. Shame and guilt are heavy barriers in healing. Fassbender's performance is mesmerising. He deserves an award for it. It takes one to the heart of addiction and emotional dysfunction. The end of the film is ambiguous - did he break the cycle or didn't he? Society lends itself to sex and sexual abuse and addiction - on some level we are all obsessed with sex and it passes us by because we are not 'addicts'. The addict can find the outlet easily in modern society as it lends itself to all the vices and pain - but not readily does it lend itself to love. The sense of loss at the end of the film comes to the viewer as it is not clear if the protagonists made it through the darkness to the love that was obviously there in them too, waiting past the trauma and past the addiction.
Not for everybody
matt_zxy5 March 2021
I think the main story in this film was really2 good, but it is look a little bit messy about how director put the plot together. It's seem like lacking something, caused i didn't get much the emotional parts.
Amazing performance by 2 main actors, they play their character very very well.
This was a disturbing film ( in a good way), for that reason, not everybody will like it.
Amazing performance by 2 main actors, they play their character very very well.
This was a disturbing film ( in a good way), for that reason, not everybody will like it.
A Masterpiece!
Copyright199429 September 2011
"Shame" centers on Brandon (Michael Fassbender), a lonely, self- alienated man in his thirties who tries his best to appear as your average New Yorker with an office job whenever he finds himself out in public. The trouble with this young man-- or his tragic flaw-- is that whenever he finds a minute of privacy in his day, he hastily delves into his own fabricated reality: a world of excessive sex, pornography, and masturbation. The day Brandon's distressed, disruptive sister Sissy (Carey Mulligan) barges into his condo looking for a place to stay until things wind down and her sorrows disappear, his life begins to spiral out of control. He grows increasingly frustrated with her as he feels her invasive presence will bring about the exposure of his deepest and darkest secrets. However, we see that this is just a manifestation of his feelings of intense shame and regret for leading the sad, artificial life he believes is the only one fit for him. Steve McQueen has the sheer audacity to go where very few filmmakers have dared to go before by making a film about sexual addiction and its effects on the human mind. In this ambitious boldness, he doesn't want to hold back on anything and he isn't afraid to show everything, so the result is a film with enough full nudity and explicit sexual content to receive an R-rating in Canada, which would probably translate to an NC- 17 rating in the US, unfortunately. There are several scenes in the film where you literally see every inch of skin on the bodies of the actors (Fassbender is probably the most physically exposed). Having said that, this is never something that comes across as frivolous and it only enhances the film's shock factor as a whole. Michael Fassbender delivers the performance of a lifetime in "Shame", and I currently can't see anyone else winning the Oscar for Best Actor at the upcoming Academy Awards. He seems to understand his sad, lonely character just as well as the screenwriters who gave birth to him (Abi Morgan and Steve McQueen). Brandon is his own worst enemy, for he longs to find solace in someone and discover genuine human affection, but the other side of him remains too caught up in a shameful world detached from real feelings and emotions. There are some scenes in the film where we, the audience, are left alone with nothing but his introspective, subdued presence as he reflects upon his actions in regret. These scenes say more than most movies can say within their entirety. It's thanks to Michael Fassbender's pitch-perfect performance that we can step into his character's shoes and get to feel what he's feeling. They say actions speak more than words; with "Shame", acting speaks more than the inclusion of any sort of narration ever would. Don't worry; I didn't forget about Carey Mulligan! I thought I would highlight her performance separately, too. If I had to say only one thing about it, I would emphasize how amazed I was at seeing her in such an unusual, singular role. She has a tendency to play soft-spoken, prim and proper characters-- but that's not the case with "Shame". She really submerges herself into this disastrous, uncontrollable mess of a young woman who never conceals her deepest feelings to the world-- be it joy or sorrow. There's this one very memorable scene in the film where she sings her own rendition of the jazz standard "New York, New York" in a lounge (she's a singer who does gigs here and there), and for the duration of the song, the camera stays focused on her face. There are no cuts nor camera movements for a good five minutes (of course, this won't come as a big shock to you if you have seen Steve McQueen's "Hunger"), yet somehow, this scene is absolutely mesmerizing-- almost hypnotizing. Just the way she naturally glances about apprehensively as this beautiful voice is unleashed (although it probably isn't hers) is enough to send shivers down your spine. What can I say about all the other aspects of the film? Well, since Steve McQueen was the man behind the direction and shot composition, it's no big surprise that "Shame" is expertly crafted in every little detail. McQueen used the same cinematographer (Sean Bobbitt) and editor (Joe Walker) of his first feature to achieve the same impressive aesthetic look. Some parts of the film must have required so much time and effort from the editor, it's hard to believe what was accomplished! As for the cinematography, I'm sure you'll be floored by it within the first five minutes of the film. In this opening scene, Brandon finds himself staring at a woman sitting across from him as he is riding the subway. He misunderstands her frightened glances and nervous attempts to display her wedding ring as romantic advances, so when she gets off in a panic at the next stop, he immediately follows her. In one of the most beautiful, gliding shots I've ever witnessed-- with an emotionally shattering musical composition by Harry Escott playing all throughout-- we see Brandon running up the station stairs and looking around for the woman, only to realize that she had run away from him. His failure to comprehend human interactions in this scene already gives us a distinct perception on this poor character's serious vulnerability. In sum, Steve McQueen's "Shame" is a masterful character study with top- grade performances from Michael Fassbender and Carey Mulligan and a raw power unmatched by any other film I've seen. This is surely not a film for everyone, as it deals with dark, gritty topics often labeled as far too controversial for the big screen. But if you're open to true cinema, here's a devastating powerhouse of a film that will chill you to the bone and forever stay with you.
Exploration Into Man's Dirty Addiction
hrkepler8 June 2018
'Shame' is a sad movie that at the end doesn't give much hope. It raises some questions and it doesn't do it subtly. Everything it wants to tell us is perfectly shown on the surface. It is not meant to be very deep movie in that department, but it is thoughtful. Porn (and sex) addiction is much bigger problem than mainstream likes to acknowledge. It leads into depression and degradation of social behavior. Michael Fassbender's portrayal of Brandon fighting with it's inner demons, that cause him quite few shameful moments, is pleasantly calm and striking. His dysfunctional relationship with his sister Sissy (equally great performance by Carey Mulligan) is almost tragic. Two damaged people who need help, but don't know how to support each other. Unresponsible Sissy who can barely manage herself, and Brandon who's unable to let go of his addictions.
'Shame' is very bleak view of someone's life spiraling down while they are perfectly aware of it, but in the end they do very little to escape.
'Shame' is very bleak view of someone's life spiraling down while they are perfectly aware of it, but in the end they do very little to escape.
Grim but great
hopek-124 March 2012
This was not an easy film to watch and even less easy to reflect on. However, I thought it was a great film. Original and brave. The acting was totally convincing and the theme important and challenging. The repeated reminders of the hypocrisy of our society regarding sex and violence were clever and uncomfortable. I was very disappointed, but not surprised, that this film received no recognition at the awards ceremony. Normally, "sex, sells" is written on the heart of all promoters. But not in this case, as it is not at all titillating. A genuinely adult film (not the usual meaning). Fine performances from Michael Fassbinder and Carry Mulligan.
Harrowing downward spiral
Leofwine_draca21 November 2014
Director Steve McQueen and star Michael Fassbender team up once more after prison starvation drama HUNGER to star in an equally realistic and depressing movie. For SHAME is a harrowing and heartfelt movie, a slice-of-life effort that explores one man's downward spiral as a result of his sex addiction.
SHAME avoids the sniggering attitude of its subject matter by playing it straight throughout. Through McQueen's lens, sex itself becomes a disturbing thing, as abhorrent as drugs or violence. Fassbender is perfectly cast as the outwardly charming and confident businessman secretly hiding some very dark secrets indeed, and both star and director should be commended for their approach to the subject matter.
SHAME isn't a film for everyone; it's extremely explicit in terms of subject matter and the relentlessly nihilistic narrative makes for depressing viewing (although not as depressing as, say, REQUIEM FOR A DREAM). It's certainly a very well made film though and one I was engrossed in throughout.
SHAME avoids the sniggering attitude of its subject matter by playing it straight throughout. Through McQueen's lens, sex itself becomes a disturbing thing, as abhorrent as drugs or violence. Fassbender is perfectly cast as the outwardly charming and confident businessman secretly hiding some very dark secrets indeed, and both star and director should be commended for their approach to the subject matter.
SHAME isn't a film for everyone; it's extremely explicit in terms of subject matter and the relentlessly nihilistic narrative makes for depressing viewing (although not as depressing as, say, REQUIEM FOR A DREAM). It's certainly a very well made film though and one I was engrossed in throughout.
Becoming even more of a Fassbender Fan
beatlefan84200025 December 2011
This film instantly drew me in. Fassbender's performance is complex and truly believable.I can honestly say that if you are not haunted by the torment of both Michael Fassbender's and Carey Mulligan's performance, then you are in denial. The pain is apparent, the intrigue of what happened to these siblings is staring you in the face throughout the film. The role's Fassbender has chosen lately have made me an ultimate fan! Another McQueen movie, HUNGER, also stars Fassbender as an Irishman in political protest against the corrupt government of the "80's. I tremendously enjoy watching him on the screen. Michael Fassbender relays raw emotion and true passion to create believable and relatable characters. Im looking forward to future projects.
Great scenes, great score but let down by lack of character development
M_J_Atkinson20 January 2012
Warning: Spoilers
This is Steve McQueen's second film after 'Hunger' about Bobby Sands who led the second IRA hunger strike in 1981, which also starred Michael Fassbender, and was praised upon release by many reviewers.
Fassbender superbly plays Brandon, a sex-addicted New York City office worker who lives in a bare and anonymous flat with a beautiful view over Manhattan. Early on we see Brandon walking around his flat naked whilst he listens to what sounds like an ex-lover telling him to pick up the phone in an answer phone message but later find out who it actually is. I remain unsure as to why we had to see him walking round naked and using the toilet whilst the message plays, seemed possibly gratuitous.
Brandon in his trademark blue scarf From early on we see Brandon indulging in call-girls and masturbation in the shower to fulfil his sexual appetite and before meeting a co-worker for a date he sees a couple having sex against a window in their apartment. My theory is that his obsession made him imagine this happening and provoked a jealousy inside him which later in the film made him perform the same act with a call girl but that could just be me going too deep and Lynch about it all.
His world is rocked by the appearance of his sister Sissy (played by Carey Mulligan). She is a singer who crashes at his flat whilst she performs at some bars and is obviously a drifter who is very dependent on people. From the outset it is very uncomfortable between them and some hostility mainly on Brandon's part. This seems to develop as the film progresses with Sissy crawling into his bed only for Brandon to complete flip out and throw her out. It shows a glimpse into a troubled past between the two that is never explored by McQueen and is left open to interpretation to the viewer. Sissy singing an excruciatingly slow rendition of "New York, New York" nearly brings him to tears but again no explanation as to why is given before he refuses to praise her performance when she sits with him. I felt this was the moment we were really going to find out more about the relationship between the two but alas I was left disappointed. The key to them having a troubled past for me came through in an answer phone message played near the end, before one of the climatic scenes, where Sissy says ''that we are not bad people''.
The film has some fantastic scenes which include Brandon making eye contact with her girl on the subway in a scene which has no dialogue. Throughout watching this scene I was constantly pondering what each movement by the two characters meant in terms of body language, the girl crossing her legs before she got off looked like her way of saying she wasn't interested before she gave him the slip heading out of the subway station. A scene which many will have seen in the trailer shows Brandon going out for a late night run as his sister and boss (in my eyes cringe worthy when chatting up women but played superbly by James Badge Dale) have sex in the living room. The tracking shots of him running and the soft piano music which is played as if through Brandon's Ipod are truly amazing (if anybody knows what the song was I'd love to know).
Despite the heavy content there are a few darkly funny moments to be had but the sexual content is about as explicit as you are going to get in cinema. A ménage a trois near the end continues long after you get the idea of what is going on and is unnecessary but the real downside to this movie is that you never learn enough about the characters, especially Brandon, to care deeply as to what happens to them. After finally getting Marianne (weirdly awkward performance by Nicole Beharie) into bed he is unable to perform and is deeply shocked, possibly showing that he cared about her but feels he may get emotionally involved. But beyond this it's really hard to understand why both Brandon and Sissy are the way they are without knowing more about them. Sometimes leaving things open to interpretation improves a film and sometimes it doesn't.
2.5/4 a film worth seeing for some unforgettable scenes but falls down in plot and character development
From Rolling Picture blogspot
Fassbender superbly plays Brandon, a sex-addicted New York City office worker who lives in a bare and anonymous flat with a beautiful view over Manhattan. Early on we see Brandon walking around his flat naked whilst he listens to what sounds like an ex-lover telling him to pick up the phone in an answer phone message but later find out who it actually is. I remain unsure as to why we had to see him walking round naked and using the toilet whilst the message plays, seemed possibly gratuitous.
Brandon in his trademark blue scarf From early on we see Brandon indulging in call-girls and masturbation in the shower to fulfil his sexual appetite and before meeting a co-worker for a date he sees a couple having sex against a window in their apartment. My theory is that his obsession made him imagine this happening and provoked a jealousy inside him which later in the film made him perform the same act with a call girl but that could just be me going too deep and Lynch about it all.
His world is rocked by the appearance of his sister Sissy (played by Carey Mulligan). She is a singer who crashes at his flat whilst she performs at some bars and is obviously a drifter who is very dependent on people. From the outset it is very uncomfortable between them and some hostility mainly on Brandon's part. This seems to develop as the film progresses with Sissy crawling into his bed only for Brandon to complete flip out and throw her out. It shows a glimpse into a troubled past between the two that is never explored by McQueen and is left open to interpretation to the viewer. Sissy singing an excruciatingly slow rendition of "New York, New York" nearly brings him to tears but again no explanation as to why is given before he refuses to praise her performance when she sits with him. I felt this was the moment we were really going to find out more about the relationship between the two but alas I was left disappointed. The key to them having a troubled past for me came through in an answer phone message played near the end, before one of the climatic scenes, where Sissy says ''that we are not bad people''.
The film has some fantastic scenes which include Brandon making eye contact with her girl on the subway in a scene which has no dialogue. Throughout watching this scene I was constantly pondering what each movement by the two characters meant in terms of body language, the girl crossing her legs before she got off looked like her way of saying she wasn't interested before she gave him the slip heading out of the subway station. A scene which many will have seen in the trailer shows Brandon going out for a late night run as his sister and boss (in my eyes cringe worthy when chatting up women but played superbly by James Badge Dale) have sex in the living room. The tracking shots of him running and the soft piano music which is played as if through Brandon's Ipod are truly amazing (if anybody knows what the song was I'd love to know).
Despite the heavy content there are a few darkly funny moments to be had but the sexual content is about as explicit as you are going to get in cinema. A ménage a trois near the end continues long after you get the idea of what is going on and is unnecessary but the real downside to this movie is that you never learn enough about the characters, especially Brandon, to care deeply as to what happens to them. After finally getting Marianne (weirdly awkward performance by Nicole Beharie) into bed he is unable to perform and is deeply shocked, possibly showing that he cared about her but feels he may get emotionally involved. But beyond this it's really hard to understand why both Brandon and Sissy are the way they are without knowing more about them. Sometimes leaving things open to interpretation improves a film and sometimes it doesn't.
2.5/4 a film worth seeing for some unforgettable scenes but falls down in plot and character development
From Rolling Picture blogspot
GUT-WRENCHING.
andrewchristianjr27 January 2020
Shame
jboothmillard6 February 2013
Warning: Spoilers
From British director Steve McQueen (Hunger), I think I saw a short review for this film from Claudia Winkleman and Danny Leigh in Film 2010, and when I heard more about it I was certainly interested to see it, especially as it was a recent edition to the book 1001 Movies You Must See Before You Die. Basically thirty-something Brandon Sullivan (BAFTA and Golden Globe nominated Michael Fassbender) is the ambitious, well-educated and professional career city dweller with an outgoing and sociable lifestyle, but he is also a strong sex addict who masturbates frequently to magazine, home entertainment and online pornography, pays escorts and prostitutes to satisfy his needs, and thinks about sex when he's not having it, eyeing up women in any situation in the hope of having sex with them. There are people around he does not want knowing about his sex addiction and he does everything he can to hide it while being friendly towards them, but he does not have to do this as often with his boss David Fisher (James Badge Dale), who despite being married is very open talking to his male work colleagues about being promiscuous with other women, but his work computer and hard drive are full of pornography. The problem with Brandon having this addiction is that he cannot fully understand the emotional meaning or reason for sex, even when he is attracted to someone, this is made clear when he tries dating female colleague Marianne (Nicole Beharie), and when they do try to have sex he cannot maintain an erection, so sex seems like more of a need than a desire for him. The big change in his life comes though when his younger sister Sissy (Carey Mulligan) arrives at his apartment, she works as a part-time singer who has small gigs in the city, and she asks to stay with him, and he overhears the reason she may be asking this is because she is having trouble with her lover, and as time goes he tries to accept her presence. With her being around Brandon finds it very difficult to do what he would normally do in privacy and sanctity, such as masturbating and going somewhere unannounced for sex with someone, and of course she sees the much more emotional attachment when it comes to sex, and with she is causing his life to spiral out of control. His shame for his obsession forces him to pay money for hotels to have sex with prostitutes elsewhere, he throws away all his magazine and DVD pornography, and he even puts his laptop computer in the trash, but trying to change his life he still has tension with his sister, it is after one particularly aggressive argument that he walks out and leaves her alone in the apartment. Following this Brandon goes on a one night bender, in other words a whole night of sexual and intimate pleasure, so he goes to a gay men's club knowing that he can easily get a blowjob and some kissing from someone there (so he may be bisexual), and he even ignores calls from Sissy while he is busy having a threesome with two prostitutes, of course he is angry at himself when he returns home. Brandon finds Sissy has slashed her wrists, she has cut herself many times before, and she is bleeding very heavily, but she survives and they reconcile in hospital, and sometime later we see Brandon on a subway train trying to not look at a married woman as he is trying to give up his obsession, but feeling desire he cannot help it. Also starring Mari-Ange Ramirez as Alexa, Lucy Walters as Woman on Subway Train, Hannah Ware as Samantha, Alex Manette as Steven and Elizabeth Masucci as Elizabeth. Fassbender gives a very poignant performance as the man who has a loathing for himself and keeps continues pursuing his next conquest for pleasure, Mulligan also gets some good moments as the sister who unintentionally catches him in some of his acts and cannot fully empathise or connect with him, the plot is pretty much just seeing the daily life of a man with a problem, naturally there is a lot of nudity, including from Fassbender himself, but you need that to understand his predicament, it is a dark and complicated story for the character, but it is certainly compelling, a most watchable drama. It was nominated the BAFTA Film Award for Outstanding British Film. Good!
Good Performances in a Shallow and Empty Story
claudio_carvalho29 July 2012
In New York, the empty thirty and something year-old Brandon (Michael Fassbender) is a sex-addicted man that works in an office. His longest relationship lasted only four months and Brandon does not have any friend. Brandon has casual sex with women that he meets in bars; has sex also with hookers; visits porn sites in Internet; and collects sex magazines. However, he is unable to have sex with an acquaintance.
When his also dysfunctional younger sister Sissy (Carey Mulligan) unexpectedly moves to his apartment, she has one night stand with Brandon's boss and the world of Brandon turns upside-down.
"Shame" is one of the most overrated films that I have recently seen. Brandon is a man that was probably sexually abused when he was a child and is sex addicted. The plot is limited to show his empty existence shagging women and masturbating. His sister Sissy is also a dysfunctional young woman, weaker than him, that needs support from her older brother but he is unable to help her. In the end, "Shame" is a film with good performances, but with a shallow and empty story. My vote is four.
Title (Brazil): "Shame"
When his also dysfunctional younger sister Sissy (Carey Mulligan) unexpectedly moves to his apartment, she has one night stand with Brandon's boss and the world of Brandon turns upside-down.
"Shame" is one of the most overrated films that I have recently seen. Brandon is a man that was probably sexually abused when he was a child and is sex addicted. The plot is limited to show his empty existence shagging women and masturbating. His sister Sissy is also a dysfunctional young woman, weaker than him, that needs support from her older brother but he is unable to help her. In the end, "Shame" is a film with good performances, but with a shallow and empty story. My vote is four.
Title (Brazil): "Shame"
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