Avis des utilisateurs

Mental Illness done with an outsider looking in. The trauma in their childhood must have been great for these two to suffer what the viewer is witnessing. Any addiction is difficult to watch. I was exhausted after watching this film. Like a hunter Brandon's thirst could never be quenched. He is existing not living. There are so many facets to this fim that are interesting: the boss David's ability to have a family and indulge in sex on the side, people's willingness to go to a bar and have sex with a stranger and then go on with their lives, unaffected. Yet Brandon, with no ties to anyone, is smoldering and suffocating in the weight of his obsession. A good study in human behavior. I don't like sex in film for sensationalism but the sex in this film was like another character, the antagonist.

Steven McQueen's sophomore effort is a powerfully compelling, unflinchingly graphic & downright disturbing arthouse endeavour that shows that something even as coveted as sex can have destructive consequences if the need for it spirals out of control. Powered by sturdy performance from Michael Fassbender, Shame does to sex what Billy Wilder's The Lost Weekend did to alcohol and Darren Aronofsky's Requiem for a Dream did to drugs.

Steve McQueen's delivers a realistic and vivid film about sex addiction, anger, self loathing, fear, loneliness, and the meaning or lack of meaning of relationships. Shame's premise is not depicted in film very often, which makes it a very unique effort as well. Micheal Fassbender's performance as sex addict is brillant, as he gives the audience his character's fear, self hatred, anger, and loneliness in full perspective. Carey Mulligan also gives a stellar performance as a needy, dependent, and affectionate musician. Steve McQueen directs this film in a laid back yet ruthless way, as Shame pits into darkness and trauma with somewhat of an elegance, while still maintaing a manic aesthetic. Narratively, Shame can get breifly lost at points, but Overall, McQueen's film is a honest and realistic depiction, with one great performance, and a good one as well. Shame is a small film, but can bring about emotions, panic, trauma, and darkness in a evocative and grim way.

I am truly shocked by the people criticizing this film for lack of substance. I've seen comments about how there is limited dialogue, and therefore no character development, and hardly any story. Did we watch the same film? I'm thinking we must not have.

Shame dives into the life of a man living with an addiction to sex. The first 10 minutes of this movie effectively introduces him, his addiction, his relationship with humanity (sister included), and barely uses any words to do so. You shouldn't need a lot of dialogue when emotions are conveyed with facial expressions, effective cinematography, and great editing. This film is loaded with all of that.

Obviously films are subjective, but I feel those who say they didn't get to "know' the characters at all must always need everything spoon fed to them. I am not a sex addict, but still connected with both Fassbender and Mulligan. I found the development both subtle and extremely realistic. Does everything need to always have that Hollywood ending? Should everything get wrapped up nicely and leave you with a warm and fuzzy feeling when you walk out of the theater? I definitely don't think so.

Anybody who does need that probably shouldn't watch any Steve McQueen films. Anyone who can appreciate a raw, subtle, and beautifully made film should go watch Shame.

I was really looking forward to seeing 'Shame' because one, i'd seen a lot of critics headlines lauding it as the film of the year, and two, because I like a lot of Michael Fassbender's work. I was expecting something explosive and original and unfortunately left feeling disappointed.

Sure, the acting is good and Fassbender is believable in the role, but I didn't find the story interesting or particularly thought-provoking. Sex addiction seems to be the latest celebrity or sports-star fad and to take it seriously as a real problem or illness is impossible for me to imagine. Obviously there are hints at a rough childhood for Brandon and his sister but, if anything, Sissy's life and character could have been explored a lot more as she seems so much more interesting.

To sum up the acting was fine and the movie looks good, but the weakness of the story was a major weakness. Some of Fassbender's previous movies such as Fish Tank or Eden Lake make far more interesting social commentaries.

Shame, the real feel bad movie of the year, is only McQueen's second feature film to date. His first film, Hunger, focused on a man who made his life very public when he went on a hunger strike during the 1981 Irish Hunger Strikes. In Shame, McQueen dissects the very personal and often shocking sexual addiction of Brandon Sullivan (Michael Fassbender). Brandon is a well off business man. He has an apartment in New York where he leads a seemingly good life, but hides a dark secret that is on the verge of destroying him. His sex addiction has gone out of control. To make this even more difficult, his sister drops in unexpected and crashes at his place (played by Carey Mulligan). Her lifestyle begins to interfere with his addiction, forcing him to take drastic measures.

Every waking moment is spent towards achieving one goal: orgasm. We see him smile, laugh, engage socially, but when he is alone he is focused, like a junkie going through the routine of drug addiction. Brandon's tools aren't lighters, spoons, and rubber ties. He uses prostitutes, Internet pornography, magazines, or his imagination. Even at work his mind wanders off, either at a passing coworker or something he has looked up on his computer. This is far from a private matter. His addiction is slipping into the open and he knows it. We assume he is aware of his problem. At the beginning of the film we see Brandon lying naked in bed, the sheet pulled over his private area. He lies motionless, only staring at the ceiling above, breathing in and out as if he knows that today is going to be a long day. We know he's not thinking about work. He has one thing and one thing only. Sex.

Most people associate sex with pleasure. I'm sure Brandon has at one time or another had a pleasurable experience during intercourse, but he is long past that stage. During a scene on the subway he spots a woman. She's an attractive woman. She's alone. Vulnerable. She eyes Brandon staring back at her. The two have chemistry. In silence they are mentally engaging each other. His stare never wavers, he just scans her up and down. Suddenly her face changes. She gets up, showing the audience her wedding band. We can feel her shame for flirting with Brandon. He gets up and stands behind her. He follows her out of the train only to lose her in the crowd. His disappointment isn't so much in relation to not getting to know her, but that he will have to continue his search for sex elsewhere.

Brandon is a tragic character. His only connection with people is linked with sex. How will this person help or interfere with me reaching my goal of orgasm? Brandon's limit's knows no bounds. Fassbender, who also appeared in McQueen's Hunger, gives a fascinating performance. It is fearless both in the sense that it is a physically challenging role and that he accomplishes the role with such honesty. He could have played it like some debonair businessman just looking to score. Fassbender knows that his character is truly disturbed. He knows that if people found out about his condition he would be ostracized. He also knows that he needs help and won't get it. All of these factors come into play and create an incredible performance. Much like Gosling pulled off in Drive, Fassbender uses his eyes and body language to express how he feels.

Pain is a word often associated with addiction. We see videos of addicts going through withdrawals in health class. They kick, scream, shake, vomit. Evidence of a sickness in the body. Fassbender's character also shows great pain and uneasiness. During times of sheer euphoria, at least for a normal person, Fassbender gives us pain and suffering. He can't help what he's doing but he needs it to stay normal.

Along with Fassbender is Mulligan, another one of today's rising stars. Her character is rebellious, dependent, and loving. She wants nothing more than to find someone to care for her and to spend time with her brother. Her brother is too involved with his addiction and her taste in men and willingness to fall in love with them brings her down even more. She plays a girl on the edge of a breakdown and really shines on screen. Like Fassbender, she gives her all for the role, exposing her true colors.

In just two films McQueen has established himself as a major player in the art house scene. Both films are festival favorites with critical praise, but the general public isn't ready for his heavy storytelling. With hope (and some financial backing) he will continue to make the films he wants to make and hopefully garner enough praise here in the states to win over more of the public. It's going to be hard if he keeps getting NC-17 ratings.

Brandon's life is almost perfect: a steady job, a nice apartment, good friends and women adore him. But something prevents Brandon from having a relationship that lasts more than four months, this incapacity is due to the fact that Brandon is a sex addict: to casual encounters with strangers and prostitutes, to pornography (both during and after working hours), to masturbation. And to some extent he seems to have his addiction under control, until her sister Sissy arrives unexpectedly looking for a place to live for a while.

British director Steve McQueen delivers a fascinating character study that explores how modern life (in which new technologies play a major role), increasingly isolates people and makes them unable to establish emotional bonds with others. In Brandon's case, a hunter in search of pleasure and not love, the arrival of his sister will turn him into a prey of his own emotions and will make him face his reality.

One aspect that has caused controversy is the way so raw and explicit to show Brandon's sexual encounters, however this becomes a necessary element, since it is through them that you can see Brandon's need and desperation as Sissy is more involved in his life. Special mention deserves the dynamics established between them, since it is fully nuanced and can even be uncomfortable to witness but is devastatingly emotional (especially in the last minutes of the story).

However, the most important element for the success of the film lies in the performances: in the hands of less committed actors Brandon and Sissy's conflicts would be unconvincing, but McQueen wisely chooses Michael Fassbender (both had previously worked together on Hunger), who literally bares body and soul to take Brandon's emotions to the limit and does it so impressively in a brave and courageous performance (and unfortunately the Academy possibly considered too intense for consideration in their nominations). Meanwhile Carey Mulligan proves to be one of the young actresses with the best prospects and acting range nowadays: her rendition of the classic song New York, New York is an utter delight as well is one of the best scenes in the film.

Shame, in the end (as in most character studies) does not seek to create empathy for the characters, but rather wants us to reflect and ask ourselves how we would react in similar situations.

Very bad music selection.... It was annoying most of the time. The movie was so boring .. i saw the reviews and thought this is a must see.. but i was wrong.

"We're not bad people. We just come from a bad place."

The film is profoundly sad. It brilliantly depicts what is the true effect of addiction. How it sucks the life out of someone until they are forced to give in to their desire, thus becoming just a hollow shell of a person. The whole thing has an unsettling vibe to it, and the color tone and cinematography do help the story to move forward. Steve McQueen as a director really shines here. He tells the story with subtlety, like there some scenes where the characters don't say much, and he relies on visuals to do the work.

As for the acting, Michael Fassbender is insanely brilliant as he is in all of his other films. This role requires a lot from him like he has to be charismatic, also has to bring a sense of vulnerability to the character which he does amazingly. Carey Mulligan's character is sort of this broken person who clearly has a past with her brother, at least that's what I got from some of their awkward encounters.

It's kind of a tough film to sit through, so it's not recommended for everyone.

Fassbender and Mulligan are truly realistic in this gritty exploration of depression, loneliness and dysfunction. Not a lot actually happens in this emotional bonfire. Do not watch it with your mum.

"Shame" centers on Brandon (Michael Fassbender), a lonely, self- alienated man in his thirties who tries his best to appear as your average New Yorker with an office job whenever he finds himself out in public. The trouble with this young man-- or his tragic flaw-- is that whenever he finds a minute of privacy in his day, he hastily delves into his own fabricated reality: a world of excessive sex, pornography, and masturbation. The day Brandon's distressed, disruptive sister Sissy (Carey Mulligan) barges into his condo looking for a place to stay until things wind down and her sorrows disappear, his life begins to spiral out of control. He grows increasingly frustrated with her as he feels her invasive presence will bring about the exposure of his deepest and darkest secrets. However, we see that this is just a manifestation of his feelings of intense shame and regret for leading the sad, artificial life he believes is the only one fit for him. Steve McQueen has the sheer audacity to go where very few filmmakers have dared to go before by making a film about sexual addiction and its effects on the human mind. In this ambitious boldness, he doesn't want to hold back on anything and he isn't afraid to show everything, so the result is a film with enough full nudity and explicit sexual content to receive an R-rating in Canada, which would probably translate to an NC- 17 rating in the US, unfortunately. There are several scenes in the film where you literally see every inch of skin on the bodies of the actors (Fassbender is probably the most physically exposed). Having said that, this is never something that comes across as frivolous and it only enhances the film's shock factor as a whole. Michael Fassbender delivers the performance of a lifetime in "Shame", and I currently can't see anyone else winning the Oscar for Best Actor at the upcoming Academy Awards. He seems to understand his sad, lonely character just as well as the screenwriters who gave birth to him (Abi Morgan and Steve McQueen). Brandon is his own worst enemy, for he longs to find solace in someone and discover genuine human affection, but the other side of him remains too caught up in a shameful world detached from real feelings and emotions. There are some scenes in the film where we, the audience, are left alone with nothing but his introspective, subdued presence as he reflects upon his actions in regret. These scenes say more than most movies can say within their entirety. It's thanks to Michael Fassbender's pitch-perfect performance that we can step into his character's shoes and get to feel what he's feeling. They say actions speak more than words; with "Shame", acting speaks more than the inclusion of any sort of narration ever would. Don't worry; I didn't forget about Carey Mulligan! I thought I would highlight her performance separately, too. If I had to say only one thing about it, I would emphasize how amazed I was at seeing her in such an unusual, singular role. She has a tendency to play soft-spoken, prim and proper characters-- but that's not the case with "Shame". She really submerges herself into this disastrous, uncontrollable mess of a young woman who never conceals her deepest feelings to the world-- be it joy or sorrow. There's this one very memorable scene in the film where she sings her own rendition of the jazz standard "New York, New York" in a lounge (she's a singer who does gigs here and there), and for the duration of the song, the camera stays focused on her face. There are no cuts nor camera movements for a good five minutes (of course, this won't come as a big shock to you if you have seen Steve McQueen's "Hunger"), yet somehow, this scene is absolutely mesmerizing-- almost hypnotizing. Just the way she naturally glances about apprehensively as this beautiful voice is unleashed (although it probably isn't hers) is enough to send shivers down your spine. What can I say about all the other aspects of the film? Well, since Steve McQueen was the man behind the direction and shot composition, it's no big surprise that "Shame" is expertly crafted in every little detail. McQueen used the same cinematographer (Sean Bobbitt) and editor (Joe Walker) of his first feature to achieve the same impressive aesthetic look. Some parts of the film must have required so much time and effort from the editor, it's hard to believe what was accomplished! As for the cinematography, I'm sure you'll be floored by it within the first five minutes of the film. In this opening scene, Brandon finds himself staring at a woman sitting across from him as he is riding the subway. He misunderstands her frightened glances and nervous attempts to display her wedding ring as romantic advances, so when she gets off in a panic at the next stop, he immediately follows her. In one of the most beautiful, gliding shots I've ever witnessed-- with an emotionally shattering musical composition by Harry Escott playing all throughout-- we see Brandon running up the station stairs and looking around for the woman, only to realize that she had run away from him. His failure to comprehend human interactions in this scene already gives us a distinct perception on this poor character's serious vulnerability. In sum, Steve McQueen's "Shame" is a masterful character study with top- grade performances from Michael Fassbender and Carey Mulligan and a raw power unmatched by any other film I've seen. This is surely not a film for everyone, as it deals with dark, gritty topics often labeled as far too controversial for the big screen. But if you're open to true cinema, here's a devastating powerhouse of a film that will chill you to the bone and forever stay with you.

This was not an easy film to watch and even less easy to reflect on. However, I thought it was a great film. Original and brave. The acting was totally convincing and the theme important and challenging. The repeated reminders of the hypocrisy of our society regarding sex and violence were clever and uncomfortable. I was very disappointed, but not surprised, that this film received no recognition at the awards ceremony. Normally, "sex, sells" is written on the heart of all promoters. But not in this case, as it is not at all titillating. A genuinely adult film (not the usual meaning). Fine performances from Michael Fassbinder and Carry Mulligan.

Director Steve McQueen and star Michael Fassbender team up once more after prison starvation drama HUNGER to star in an equally realistic and depressing movie. For SHAME is a harrowing and heartfelt movie, a slice-of-life effort that explores one man's downward spiral as a result of his sex addiction.

SHAME avoids the sniggering attitude of its subject matter by playing it straight throughout. Through McQueen's lens, sex itself becomes a disturbing thing, as abhorrent as drugs or violence. Fassbender is perfectly cast as the outwardly charming and confident businessman secretly hiding some very dark secrets indeed, and both star and director should be commended for their approach to the subject matter.

SHAME isn't a film for everyone; it's extremely explicit in terms of subject matter and the relentlessly nihilistic narrative makes for depressing viewing (although not as depressing as, say, REQUIEM FOR A DREAM). It's certainly a very well made film though and one I was engrossed in throughout.

It is a gut-wrenching painful story of a brother and sister. Both are damaged individuals and both have complex and broken sex lives. One of the best work of Fassbender.

With celebrities ranging from Russell Brand to Tiger Woods claiming to be slaves to their carnal desires, sex addiction has made its way into the public consciousness. However, the validity of the condition is still very much disputed. Indeed, the labelling of promiscuity as a disorder seems like little more than a convenient means for celebrities to distance themselves from their depraved antics. It betrays a highly puritanical impulse to realign us with conservative notions of sexuality.

Hunger, Steve McQueen's acclaimed debut about Bobby Sands and the 1981 IRA hunger strikes, approached a very contentious historical event with sober, apolitical portraiture. Yet in the opening scenes of his latest film, Shame, McQueen provides us with a very one-sided view of the sex addiction debate. We are introduced to Brandon (Michael Fassbender), a New York yuppie leading a double life. By day, he is just one of the guys (save the occasional unseemly visit to the men's room), but by night he becomes an uncontrollable fiend, looking for sex wherever he can find it.

Brandon's busy schedule of brothel visits, one-night stands and violent sessions of masturbation, is upset by the arrival of his sister Sissy (Carey Mulligan), who, having landed a singing gig in New York City, needs somewhere to stay. She seems to serve as an uncomfortable reminder of their troubled childhood, which is hinted at but never explained. As a result, Brandon rejects her attempts to reconnect with him and casts her out. In this, McQueen attempts to explore the causes of Brandon's errant behaviour, suggesting that a history of family turmoil has left him with little faith in emotional intimacy and forged the basis for his addiction.

However, despite McQueen's penchant for naturalism, Brandon's story is far from convincing. Not only does he seem to have an almost supernatural ability to attract beautiful women, but the scenes of violent masturbation and rampant sexual conquest are terribly cartoonish. For instance, during Brandon's final spree, he partakes in a series of stereotypically debauched antics, beginning with lewdly chatting up women in bars, before heading to a gay sex club and rounding off the evening with a threesome in a brothel.

If anything, this less-than-sophisticated presentation of the supposed 'realities' of sex addiction leads one to think it isn't about sex at all. All of his encounters seem pleasurable and consensual, if occasionally contractual, and if McQueen intends to underline their innate depravity he certainly doesn't succeed. Brandon's tendencies are admittedly a little self-destructive, but his true struggle seems to lie in his isolation and emotional separation from his family, rather than his sexual appetites.

Towards the end of the film, Brandon begins to see a colleague, Marianne (Nicole Beharie), and their first date is perhaps Shame's most important scene, largely because it undermines all that has come before it. As they begin to talk about past relationships, Brandon is led to admit that he doesn't believe in monogamy, or feel comfortable with long-term commitment. Marianne challenges him on it and they debate for the rest of the evening. Breaking from the narrative's overarching agenda, this seems to be the sort of discussion the film should have staged in the first place; one that examines our culture's sexual values without feeling the need to wag fingers.

While Shame aspires to paint a vivid picture of a person living through the supposed affliction of sex addiction, the result is a rather unconvincing caricature. Nevertheless, in its failure to depict sex addiction as anything other than a matter of appetite and sensibility, it may well have something important to say.

This film instantly drew me in. Fassbender's performance is complex and truly believable.I can honestly say that if you are not haunted by the torment of both Michael Fassbender's and Carey Mulligan's performance, then you are in denial. The pain is apparent, the intrigue of what happened to these siblings is staring you in the face throughout the film. The role's Fassbender has chosen lately have made me an ultimate fan! Another McQueen movie, HUNGER, also stars Fassbender as an Irishman in political protest against the corrupt government of the "80's. I tremendously enjoy watching him on the screen. Michael Fassbender relays raw emotion and true passion to create believable and relatable characters. Im looking forward to future projects.

I wanted to like Shame more than I did, honestly. Halfway through I was considering giving it an 8 or a 9, but by the end I had to admit to myself that it just wasn't that good.

I applaud director Steve McQueen for trying to tackle a subject as tricky and controversial as sex addiction. Even more than that, I applaud Michael Fassbender and Carey Mulligan for agreeing to appear in a film like this. Fassbender and Mulligan actually deliver wonderful, painful performances that alone make the film worth watching. McQueen's directorial job is powerful too; there are several scenes in Shame that are truly gorgeous and haunting, and stayed with me a long time after watching. On the surface, Shame looks and sounds great.

The script is where it begins to fall apart, but it's far from being the film's only - or worst - weak spot. The big problem with Shame is all over - it's the sense of emotional detachment. It may make some sense considering the film's themes, but it's a big problem with a film that hinges on our ability to sympathize and relate to the characters, and to feel their pain; Shame left me completely cold. I never felt any attachment to Fassbender's character, and I was never convinced that he's as miserable as he's portrayed. Worse, his addiction never felt real - there's nothing to indicate that he really can't resist the urge to have sex constantly, he just comes off as selfish, indulgent and misanthropic. None of this is Fassbender's fault - he does amazing things with the scenes he has. The problem is that while some scenes are truly powerful and effective, everything in-between does nothing for the viewer, and nothing helps to immerse him in the characters.

Shame is definitely worth watching - from a filmmaker's perspective there are some precious lessons here, and some scenes work terrifically well as short segments. Don't bother watching it for the sex - nothing about it is arousing or very shocking, in fact there's a lot less of it than the hype and controversy might make you expect.

In New York, the empty thirty and something year-old Brandon (Michael Fassbender) is a sex-addicted man that works in an office. His longest relationship lasted only four months and Brandon does not have any friend. Brandon has casual sex with women that he meets in bars; has sex also with hookers; visits porn sites in Internet; and collects sex magazines. However, he is unable to have sex with an acquaintance.

When his also dysfunctional younger sister Sissy (Carey Mulligan) unexpectedly moves to his apartment, she has one night stand with Brandon's boss and the world of Brandon turns upside-down.

"Shame" is one of the most overrated films that I have recently seen. Brandon is a man that was probably sexually abused when he was a child and is sex addicted. The plot is limited to show his empty existence shagging women and masturbating. His sister Sissy is also a dysfunctional young woman, weaker than him, that needs support from her older brother but he is unable to help her. In the end, "Shame" is a film with good performances, but with a shallow and empty story. My vote is four.

Title (Brazil): "Shame"