Shortbus

Shortbus is very high on the list of my most beloved movies. I can not avoid to call it a masterwork. And why is that so ?

It is a deeeply human movie. It has so many facettes, like comedic, sensual, pornographic, sad, senseful, atmospheric, toughtful, and many other things. It's a vibrant view on the lifes of some outsiders or people who don't fit in functionwise, and are searching for magic in their live, which is provided through the club shortbus as a catalysator. The movie is much too far off the main road to be swallowed in one session. It has to be watched sometimes, so one can find always new aspects and details.

While going very deep into some sad or explicit situations, Shortbus alwas stays lighthearted, not taking itself too serious. Acting is partially phenomenous, it's often more being than acting, so that I had the impression of sitting between those characters and watching them living, losing, hurting and hoping.

In the end, I am always a bit sad the movie is such a loner in the landscape. The concept is so easy, and not even its creator managed to make a follow-up. It's the actual proof that modern cinema can be glorious, intelligent, erotic, sensitive AND enjoyable. I do not want to believe that this proof will be the only one in decades.

We need at least a couple more movies like this, since we are all existing through sex and emotions, and we should enjoy the short time we have. At least, I need. And because I always feel good and lighthearted, in a way healed, after watching Shortbus.

What everyone will hear about "Shortbus" is that the sex is real and explicit. Yes, this is all true. But so is the emotional journey the characters go through.

Far from being crude or offensive, Shortbus is fresh, insightful, celebratory -- and, most importantly, focused on the fully realized people, not just the bodies, who bare their flesh and feelings on screen. Like Michael Winterbottom, who made the explicit "9 Songs," writer/director John Cameron Mitchell says he wants to show true human sexuality as part of his story. Unlike "9 Songs," which seemed to focus on 1/8 of the full human experience of relationships (concerts and sex), Mitchell's "Shortbus" approaches 9/10 of the authentic experience of being human, being miserable, looking to come to joy, and exploring funny, sensual, and affectionate avenues to get there.

Is "Shortbus" provocative? Yes. Is it explicit? Yes! And these are good things in these politically authoritarian times.

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...