Shortbus

Set in modern-day New York City, a heterogeneous group of straights, gays and transgenders find common ground at Shortbus, an underground salon where people are free to explore their most carnal sexual desires with random hookups and nightlong orgies – sometimes even finding bits of wisdom along the way.

The superb cast of characters of John Cameron Mitchell's "Shortbus" powerfully draws the viewer in to each of the characters' lives and problems. Sofia (Sook-Yin Lee), a sex therapist who's never had an orgasm, seeks out ways to overcome her "pre-orgasmic" dilemma, profoundly affecting her marriage. James (Paul Dawson), a former male escort battling depression, goes to ultimate extremes when he can't even seem to feel happiness with his loving and devoted partner of five years, Jamie (PJ DeBoy). Struggling artist Severin (Lindsay Beamish), who succumbed to work as a dominatrix, seeks to have a meaningful relationship with someone – anyone.

Yes, the on-screen sex is real. And there's lots of it. But rather than displaying sexually explicit scenes for the sake of cheap titillation, "Shortbus" is provocative with an actual purpose. We're not in Hollywood anymore.

While sex is a main focal point in the film, it is not the sole one. "Shortbus" deals with all manners of human relations. Not stressing one form over another, it shows how sex, friendship and love continually intermingle. Because one's comfort level with their sexuality mirrors how one relates in all other relationships, showing the raw and carnal aspect of each character so explicitly works beautifully to accurately convey their motivations and struggles.

In a touching conversation, an old man identifying himself as the former mayor of New York says to the young and naive Ceth (Jay Brannan), "People come to New York to get laid ... People also come to New York to be forgiven." The latter can also be said for those who elect to see this film. Whether dealing with sexual oppression, struggling with sexual desires deemed socially deviant, seeking redemption for having already been there and done that, or feeling generally unaccepted for being who you are, the redemption value in this film is tenderly perceptible. "Shortbus" lets us know that gay, straight, bi, transgender, whatever – we all just want to feel accepted.

Director John Cameron Mitchell dares to take a retro-clinging America into the twenty-first century with this brave, humanistic art-house film wherein an ensemble cast of little known actors and numerous non-actors portray characters exploring emotions and relationships in a New York City underground club called the Shortbus.

As a gay couple with relationship problems, James (Paul Dawson) and Jamie (P.J. DeBoy), consult a young sex therapist named Sofia (Sook-Yin Lee) who, as it turns out, is in need of some therapy herself. The film's weak plot steers them to the Shortbus, wherein sex and open relationships trump everything else in life, as if people obsess about sex every minute of every day. The film's sex scenes are explicit and graphic, but never exploitative.

Most of the characters are to varying degrees pleasantly unique. I especially liked Justin Bond, the club's tour guide. The film's costumes and production design are terrific. Artwork is mod, as you would expect. And the film's music captures a progressive feel, and varies from nouveau jazz to the stirring humanistic anthem "In The End", performed by the entire cast, and led with flair by Justin Bond.

Unorthodox both in substance and style, in a society that too often demands traditional correctness, "Shortbus" is Mitchell's cinematic plea for cultural compassion and mercy, tolerance and acceptance. It is a cinematic theme that is much needed in America, where hatred and intolerance toward all things nonconforming seriously risk diversity of thought and behavior. At the very least, the film is a welcome change from your mainstream Hollywood assembly-line cinematic trash. I suspect, however, that "Shortbus" really is the wave of the future, particularly in forward-looking societies. More power to it.

First of all I am a "straight" man so I wont let this cloud my review of this film...

I found this movie hard to watch at times but the fact that this was toted as "real" sexuality peaked my interest in the first place. I thought I knew what I was getting myself into but even my own preconceptions were shot to hell by this.

If you have a problem with the interactions of 2 or more of the same sex partners then this is NOT the movie for you... But if you can keep an open mind then it may be something that may give you some insight into the homosexual culture.

Like most people I had seen sex in one form or another already on screen but that was something that was somewhat scripted... This movie was as real as you could get without seeing it live I guess would be its best compliment.... But its not all about just throwing people out there to have sex and film it.

There are deeper subjects that John Cameron Mitchell tackles, such as fears of not being loved as you once were by your partner, trying to achieve orgasm that a lot of women might have a problem and just finding true love....

As I said about the car wreck, even though the film made me incredibly uncomfortable I found myself trying to open my mind to other things so I kept looking back at the film, to see what the message thats trying to be portrayed to those with a closed mind...

A married sex therapist doles out relationship advice at work but privately spends her time in search of an orgasm, which she's never had. Two gay men find themselves drifting from one another and introduce a third man into their relationship in an attempt to bring some fulfillment back to their emotional connection. A professional dominatrix excels at abusing clients, but brings that abusive behavior to her personal relationships as well and as a result isolates herself from any true human contact. Meanwhile, all of these characters meet regularly at Shortbus, a sex club where everyone is free to be whatever they want to be, where no one's a freak because everyone's a freak, and where, most importantly, everyone feels a sense of community in a scary post-9/11 world.

Such is "Shortbus," John Cameron Mitchell's emotionally affecting follow up film to his dazzling debut, "Hedwig and the Angry Inch." By now, everyone knows that "Shortbus" contains many scenes of quite explicit sex. As happens with any more conventional film that contains material we are used to seeing only in bona fide pornography, the sex tends to dominate on a first viewing; it's so hard not to be distracted by the explicit scenes and ignore the other things going on. However, it is to Mitchell's great credit that I left the film not remembering the sex as much as I remembered some of the beautiful emotional moments, of which "Shortbus" is chock full.

I saw a screening of this at the Chicago International Film Festival, and two of the actors, Sook-Yin Lee and Lindsay Beamish, were on hand to answer questions. Lee explained what Mitchell was trying to do with this film, and I greatly admire his ambition. She said that he was trying to make an antidote to all of the other films out there that treat sex just as explicitly but in such more negative ways. Sex in our movie culture is usually full of dysfunction -- if it's not downright harmful, it's at best desultory and unsatisfying (think "9 Songs"). Our culture condones graphic violence in films, many times in combination with sex, but squirms away from sex as it really looks, even though it's one of the most natural of human functions. Mitchell wanted to illuminate this hypocrisy and show that sex can be fun, sex can bring people together, sex can make you laugh. It can't necessarily solve problems, as the characters in this film realize, but it doesn't always have to necessarily cause problems either.

My biggest complaint about "Shortbus" is that I felt somewhat left out. As a heterosexual male, I don't feel that I was represented by any of the film's characters. Mitchell, as a gay man, obviously has an understanding of gay relationships, and the storyline with the three gay lovers is handled beautifully. But I felt that Mitchell was stereotyping heterosexual relationships in the same way that heterosexuals stereotype gays. The married couple is bored, unfulfilled, caustic with one another. Lee's character can't achieve orgasm until she comes to a sex club and gets it on with another woman. Just once, can't a film show a heterosexual couple who are happy and having a completely satisfying emotional and sexual relationship? I know this wouldn't make for great drama, but it would at least make me feel better.

I really liked "Shortbus" without feeling that it was a complete bulls-eye for Mitchell. At the very least, he has an outstanding talent and has proved himself to be a young filmmaker to watch.

Grade: A-

There are a couple of features about this movie that will hit you. Yes there is some rather graphic sex, but to anyone after hitting adulthood it works purely to support the film, erotic would be too strong a word for it. It is to everybody's' credit that this was possible. The model of New York works great and is a real devise for the movie.

As we progress through the film we see the lives of a small group of New Yorkers grow as they develop their relationships or indeed the quest for a relationship. The medium for bringing these lives together is the "Shortbus" club. A rather carnal club which they all drawn to becomes a focus for their development. Each confronts their own particular daemons. As heavy as this sounds, it is quite a light hearted film. The closing scenes are fantastic. As you watch this film you will feel yourself being dragged in, until the end when u feel almost as if you are part of it.

A great movie, one which should become a cult classic (only because it might be a bit too "graphic" for mainstream cinemas, but certainly a classic. Any attempt to sanitize and edit it would surely destroy the film.

This movie will make you laugh, cry and sing; you will leave the movie theatre affected by this film.