All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
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 moves into his apartment stirring memories of their shared painful past, Brandon's insular life spirals out of control.
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…
From the bookended scenes which show the protagonist’s reaction to a paralleled situation, Shame is tied off as an examination into the impact of Brandon’s problematic addiction to sexuality, so much so to where it functions as escapism rather than a means for intimacy. The narrative is as though Holden Caulfield ended up staying in New York City, finding online porn and escort services as further means of isolating himself from all the phonies around him. Indeed, Brandon’s boss is the phoniest of them all, in the beginning of the film attempting desperately to latch himself onto a trio of “strong, independent women” in an identical womanizing manner to Stradlater from Catcher in the Rye.
When Brandon’s sister shows up…
this is some quality michael fassbender content
While I thought this was a good film with a provocative story that you don't normally see on film, I can't help but feel like something was missing from Shame.
All the performances are good, the cinematography great and the subject matter challenging as well as thought-provoking, the best way to describe this film is more of an art installation than a narrative piece, although that in itself is also good.
My issue primarily comes from the method in which the film attempts to show you the subject matter. Scenes are on a few occasions shown out of order yet, with McQueen often showing the end of a sequence of events first and then following up with how the main…
Shame is a terminally brooding film, a film that simultaneously manages to do very little in terms of plot but feel totally present.
Fassbender plays a man who has a very good life on paper; he's so handsome he barely has to try with women, and when he does he's incredibly smooth. He lives in New York, gets payed well and he's totally independent. He's quite the charming guy.
But in reality, he's fucking miserable, a massive hypocrite and completely incapable of feeling close to anyone. Shame is just that - beautiful on the surface, hideous on the inside.
Shame demands you to feel with it. The slow downward spiral is both hard to watch and cathartic at the same time. It's hard not to feel disgusted by, yet sympathetic with the characters. It's all too relevant in the internet age of pornography.
Not for the faint of heart.
An arthouse movie that uses the promise of a naked Michael Fassbender to lure the fangirls/-boys into a flick with a Freudian plot, patient camera and great acting.
I completely forgot that I've already seen this movie which tells you everything about my impressions. Not exactly my cup of tea. Carey Mulligan is wonderful, Fassbender's performance is great, but that's all I like. I'm indifferent to everything else.
This is gonna make jerking off tonight awkward
The Hook: Montage of Brandon's strange sex life (perhaps establishing his character flaw) only to be broken up by the first bit of dialogue "You disgust me." (Although this was in the context of a conversation that didn't apply to the previous shots, it's juxtaposition to that material is dope) (00:03:00)
The Catalyst: When Sissy moves into her brothers apartment. (00:22:00)
The Big Event: When Sissy has sex with her brother's friend Dave. (00:43:00)
The midpoint: when Sissy catches Brandon masturbating (which occurs after he offers to take Marianne on a second date which itself is a life change), which incites an argument that leads to the removal of all his pornography. (00:57:00)
Crisis: Brandon is rude to Sissy, and…
(Working on organizing it by similar aesthetic.)
One thing I noticed is that while it's pretty easy to discover great old movies, it's not as easy to…