NYFF 2011 Movie Review: Shame

Title: Shame

Cast: Michael Fassbender, Cary Mulligan, James Badge Dale, Hannah Ware, Elizabeth Masucci, Lucy Walters and Nicole Beharie

In Steve McQueen’s 2008 film, “Hunger”, also starring Michael Fassbender, McQueen took a “fly-on-the-wall” approach to the Irish Republic Army prison hunger strike of 1981 and the martyrdom of their leader, Bobby Sands. Although stylized with graphic violence and slow motion sequences, its view of Bobby Sands was always held far away. This is shown in the film’s most iconic scenes between Bobby Sands and his priest (Liam Cunningham), which last for a riveting eight minutes in one take. McQueen hints at that style in his new film, “Shame” but marries the technique with a more character driven narrative.

“Shame” follows the life of Brandon (Michael Fassbender), a high powered ad executive from New York City and examines his addiction to sex. His life is interrupted by his estranged sister, Sissy (Carey Mulligan), who has no place to live so stays with him. The premise of “Shame” is quite simple but the methodology and examination of sex addicts is not. At the beginning of the film, McQueen uses that “fly-on-the-wall” approach to great effect. We truly get an idea of the mind set of Brandon from the opening frame to the last. His decisions don’t seem foreign to us because we are along for the ride. His reactions are our reactions. Smartly, McQueen lets the opening scene and sequence linger from room to room, brilliantly cutting between Brandon’s private home life, his work life and his interactions with people (mostly women) in casual, everyday settings like taking a subway or walking home from a bar. The collaboration between McQueen and Fassbender is impressive. We get a good sense of two artists at the top of their game in this film.

When Sissy comes into the picture, the film shifts into something more dark. A film dealing with sex is naturally arousing and tantalizing but “Shame” takes it to a place that isn’t necessarily violent but to a place that is sad and off putting. The relationship between Brandon and Sissy is somewhat vague. They deal with each other like former lovers; playful, familiar and once intimate but on the other hand, you could say that they’re acting like very close siblings. There is a love there between them but the film is ambiguous enough never to out right say, but it feels incestuous. This creates more problems, not in terms of narrative but in relation to character. Sissy’s life is a mess yet Brandon’s (on the outside) is more responsible, but when his addiction gets in the way of their relationship, McQueen’s camera captures it all.

There is a lot of sex in “Shame” but it never feels uncomfortable or gratuitous, it feels necessary to the exploration McQueen and Fassbender are searching for. It makes a firm stance suggesting that there’s a difference between sex and intimacy and never lets that notion go during the whole film. In a pivotal scene between Brandon and his would-be new girlfriend Marianne (Nicole Beharie) intimacy is hard to come by. This is an important turning point in the film, this is the first time we see Brandon’s vulnerability, not only physically but emotionally as well. From this point on Brandon tries to capture back that vulnerability even if it means having sex with as many people as he can. To this point, this action is in conflict to Sissy’s safety, which Brandon is forced to choose.

McQueen’s second film is very strong and more accessible than his first. The idea of exploring sex addiction may be arousing to most, but beware, McQueen takes that idea and examines it to its darkest depths. “Shame” is a quiet triumph for everyone involved and should bring more attention to McQueen and Fassbender, respectfully. There work together is invaluable and exciting. The way Fassbender’s charm and pathos are interlocked is one to consider and McQueen seems to know how to get that performance out of him, while at the same time captures it. This one is worth watching and will leave you hungry for more.

“Shame” is screening as part of the 49th New York Film Festival on Oct 7th and Oct 9th.

Technical: B+

by @Rudie_Obias