not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…
In New York City, Brandon's carefully cultivated private life which allows him to indulge his sexual addiction is disrupted when his sister Cissy arrives unannounced for an indefinite stay.
A wailing and desperate cry of anguish and pain constructed within the leering jungle of NYC, Shame isn't so much a study of sexual addiction as it is a tortuous insight into crumbling relationships of the modern world. In Steve McQueen's film (which is possibly his masterpiece), feelings aren't told or even visualized as much as they're already within the details of the frame. Genuine conversation and aching truth make up every speck of grain from the gorgeous 35mm photography, and the result is a work of unpleasant frankness and harrowing sincerity.
Michael Fassbender is the obvious highlight here, and he's just as incredible, engaging, and unrelentingly sad as you'd expect from him in a role such as this,…
This isn't a film about sex addiction. It's a film about a man torn in half by himself. The addiction is a mere vehicle for an exploration of control, humanity and self destruction.
Fassbender is amazing and easily gives one of the best performances I have seen in a couple of years. He is reprehensible, charming and unbelievably sad. His character, a man desperately running away from himself yet totally dependent on himself, is intriguing. What McQueen is able to do like no other director is to allow us to enter the mind of his characters. He is an observer and that is how he shoots his films,…
Review In A Nutshell:
Arguably, Shame finds director Steve McQueen at its peak, a sophomore opus that blends his arthouse sensibilities with commercial accessibility, a striking balance that never favours the latter over the former, neither condescending nor insulting, bolstered by a performance by Michael Fassbender and Carey Mulligan that never ceases to be striking, constantly soulful in their existence and brimming with stimulation, a bond between siblings that may leave others discomforted, but for others provoked, essential to their characterisation and compelling in their subtleties. Demanding but deeply rewarding, Shame is an unforgettable piece, deliberate in its pacing and casual in its arc, it demonstrates an artistic flourish from McQueen that would seem likely to drift away as he currently finds himself in renowned fame, let us hope he remains true to his roots.
Sex addiction is often seen as a rather silly and trivial addiction, one that celebrities wheel out when their infidelities become public knowledge. Yet in Steve McQueen's second feature it is portrayed as potentially serious, debilitating and life destroying as drug or alcohol addiction. The film is as utterly empty as Brandon's own existence and whilst that may sound like a flaw it really isn't. McQueen puts you in his world and gets under the skin of Brandon's hollow life and ambiguous family backstory. It is odd coming out of a film where you feel so little, normally they aim to heighten emotions not numb them, but it is crucial in understanding the character and the world he inhabits for…
Steve McQueen's follow-up to his critically acclaimed directional debut is another powerfully compelling, unflinchingly graphic & downright disturbing example of arthouse cinema focusing on the devastating effects of addiction that presents the director in prime form, is crafted with precision care & meticulous attention to detail, and benefits greatly from another excellent performance from Michael Fassbender.
Set in New York City, Shame follows the life of Brandon; a 30-something man who's a sex addict. While his carefully cultivated private life does allow him to indulge in his unhealthy dependency without any major consequences, his whole world spirals out of control when his sister unexpectedly arrives in town to stay with him for an indefinite amount of time as Brandon struggles to keep…
Shame, Shame, what to say about Shame?
The almost extreme extent to which Steve McQueen has really bent the filmic medium to his will, creating a pretty well-defined style in only two films. Although still not a traditional narrative, and maybe not even a full character portrait (or is that the point?), Shame is still something slightly more than an experimental art piece, it is definitely cinematic. McQueen's filmmaking is more of the same as we saw from Hunger, and all at once more refined, more controlled, more restrained, more expressive. He is refusing to work within established boundaries, and instead is creating products that are very much their own thing.
The characters McQueen creates in Brandon, Cissy, and…
Pure aggression told through a simplistic story
That long tracking shot of Fassbender jogging has to be one of the most emotionally fitting and technically impressive shots I've seen. It brings up so many questions that I'd like to ask McQueen. How did they shut off that much of whatever city they filmed in? How did you choose that fitting piano music? Did you have to do multiple takes? Why did you include that truck's headlights about two thirds of the way through the shot? Why did you put Fassbender to the far right of the shot as opposed to the center or even the left? How did you decide his costume for the shot? Why did you have him jog in place for a few seconds?…
Terrific movie, Steve McQueen's direction is flawless. Michael Fassbender is oscar worthy in this film, very interesting film with a great score, great acting, script and just everything
michael got dat assbender
Everyone told me to watch this for Fassbender's dick, but I was way more impressed by Carey's performance. She absolutely knocked this one out of the park.
Michael Fassbender interpreta con grandissima drammaticità un personaggio estremamente difficile: perché riservato - e quindi con poche battute e molti silenzi -, e perché nudo - sia fisicamente, sia nel mostrare alla telecamera i propri conflitti interiori -. Il protagonsta è dipendente dal sesso, e la sua vita riflette completamente la sua dipendenza; solo la sorella riuscirà a smuoverlo, e solamente accelerando il tempo della crisi, inevitabile, necessaria a un'evoluzione.
Film difficile. Non cerca il consenso del pubblico, non porta una tesi, non fa la morale. Vuole mostrare una vita ai margini, vuole narrare, vuole lasciare un segno.
I can't believe Steve McQueen invented sex.
+ the performances were great, especially Fassbender did a great job at portraying the conflicted, helpess, self-loathing character. i was hurting with him the entire film.
+ i liked the style of the film, the pacing and the visuals. it was calm and reduced and focused on the characters’ emotions and made sure that the many sex scenes didn’t feel gratuitous
+ the main character was surprisingly sympathetic and even though you got to know very little about him (e.g. in terms of his past), it was easy to understand his situation, his emotions and conflicts
- the end was dissatisfying. i don’t mind open endings but i was hoping to get a bit more there
- with the film…
this list could probably go on forever
(there's a lot of cronenberg here)
(Working on organizing it by similar aesthetic.)