All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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.
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,…
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…
Films about addictions are not my cup of tea as I prefer escapism over realism so I wasn't really expecting much from the film going in! But it didn't take long for me to realize this was not your average film about addiction!
This was something very special indeed! Of course Steve McQueen's directing skills were impeccable and above reproach but in the end it was Michael Fassbender's powerhouse performance that won my undying respect and admiration!
Film was recommended via my Movie Request Hotline list by Sir William of Letterboxd! Thanks Will for this wonderful request!
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…
Bullshit from the first frame: a film that uses "sex addiction" to tell a universal story of addiction, draining any specificity in order to create an abstract world where nothing feels lived in. A sterile set of poses in supremely crafted shots that never reveal any psychology. Brandon rushes into the bathroom to jerk off at work and McQueen shoots it from a bird's eye view, but this cuts us off from his face but also his body, so what is to be read by this gesture is only felt in the camera. What's the relationship between Brandon and his boss? Does he usually let him come back to his apartment to fuck random women when they both can clearly…
Shot really well, great use of music.
Steve McQueen's "Shame" is almost too dark to bare. It is also an unforgettable cinematic study of damaged people trapped in the grips of despair, loneliness and isolation.
Despite the graphic sex and nudity, this is not used for provocation or eroticism. There is really very little here that one can consider "erotic" -- this is closer to sadly "neurotic" Like most of McQueen's work, "Shame" is very stylized. It is also unforgivingly realistic.
McQueen creates a true challenge for both of his leading actors. Neither is given much in the way of dialogue or "backstory" for the audience to gain any real insight. The viewer's understanding of the inner-turmoils are entirely dependent on how the two leads articulate with…
Great tracking shots, really good use and choice of music, and absolutely beautiful scenery.
Joining Whiplash and Argo in the significant downgrading on revisit. Mulligan fantastic though.
This didn't really feel like it was about addiction until the last 20 minutes; until then, it felt like it was more about how people internalize their past and distance themselves from emotion. But Shame is so elusive that neither theme feels like it is meaningfully explored; I don't feel like I needed this movie to make me understand that "hey! Sex addiction might kinda suck bro!" and even if this opened that door up for me, I highly doubt I'd find anything of genuine merit. Reminds me a lot of Foxcatcher, and how the impeccable performances and technical skill couldn't quite overcome an otherwise airless narrative.
I still need to see Hunger, but the jump in quality from this to 12 Years a Slave is INSANE.
Added to the list of films I will never, ever watch with my parents.
the drab colors aren't the only thing ambiguous to this, I'm fine with it not taking any hard stands, but there's nothing to suggest that the camera is ready to really delve into what's going on. it's so cool and detached that I think I need to take a hot shower
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
In my opinion, of course!
And only including films that I've seen.
Hardly in order after the top fifty.