2011 Directed by Steve McQueen
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.
Michael Fassbender Carey Mulligan James Badge Dale Nicole Beharie Alex Manette Hannah Ware Anna Rose Hopkins Elizabeth Masucci Rachel Farrar Loren Omer Lucy Walters Amy Hargreaves Marta Milans Mari-Ange Ramirez Lauren Tyrrell Jake Siciliano Robert Montano Charisse Bellante Carl Low Calamity Chang Deedee Luxe Wenne Alton Davis
性愛成癮的男人, Shame - Deseos culpables, 셰임, La honte
95/100
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,…
Film#30 of 'It's June Jim, but not as we know it '
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.
Opening shot: lying in bed. 3/4 from top. Ambient sound. Lying motionless. 15 seconds? Opens blinds to reveal title in black lettering over the bed. Again long takes. Brandon commonly cut off entirely or 3/4ths of the frame. This framing most salient stylistic choice of McQueen throughout film. Secondly is the long takes. Postmodern ending (ambiguous). Fine. Could relate with protagonist.
Every time I watch Shame, I find myself drowning in my own tears. It’s a film that reminds me why I love cinema. The emotion just really gets to you in the final act. Part of what gets to me in this movie has to be the score. It’s some very powerful music, and the film uses its crescendos in such a way that the immersion is enhanced. Then there’s Michael Fassbender’s performance. His performance is nuanced and riveting. Quite honestly, he probably gives the best performance of this entire decade if I’m being honest. The directing is just perfect. The way everything culminates in the story just blended so seemlessly, and I can’t imagine anyone but Steve McQueen. How was this shut out at the Oscars in favor of Extremely Loud and Incredibly Close? I will never understand
Not sure how to feel about this.Lots of Silence. Movies don't do that anymore.
Different, yet predictable at the same time.
What would make someone want to make a movie about this, and in this way w/o experiencing something relative to this?
Cinematography was very interesting. Lots of running. A fan of that shot.
The journey of the character was not moving.
Valentine's Day Essentials.
Heart-wrecking film, psychoanalytic with some pinches of dark, twisted humour, considering the circumstances of the story.
The alienation and the emotional emptiness of a modern man in a faceless city, never done more cynically. Touches me every time.
Michael Fassbender gives a hell of a performance.
Bursting out crying when you realize you're wearing those New Balance sneakers.
A beautifully crafted, lingering and bleak film. The about the subtle acting in this is just superb in particular the New York, New York sequence.
Last Valentine’s Day I watched Saló for the first time, and this time I rewatched this f-ing masterpiece...LOL. I could really care less about this holiday. To me, it’s just the day before my birthday.
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