Shame Review

By David Salazar

Despite the growing liberal nature of society, sex or depictions of it maintain a stigma for a vast number of people. It makes them uncomfortable and for some, the idea is disgusting. Steve McQueen's "Shame" plays with these preconceptions and confronts its audience with them, portraying a world that creates misery and slowly destroys itself.

At the center of this film's world is Brandon Sullivan (Michael Fassbender), a wealthy but lonely man who spends most of his time addicted to sexual activity. These activities (watching porn at night, prostitutes, etc.) are utilized more as a means of alienation rather than satisfaction.  In fact, it is quite clear from Fassbender's towering performance that Brandon is not a happy man. Smiles from him are few if any and just looking at this man gives you a sense that he lives with a great deal of hate and frustration, but with himself. Take a scene early in the film in which he studies a woman on the train. He clearly has some sort of interest in her. When they finally make eye contact, Brandon continues his ogling of this woman as does she. She gives him a subtle flirtatious smile, and even though one would expect the same from Brandon, it just never comes. His returning glance is one that can put one off edge, as it clearly does for this woman.

But his discontent and misery doesn't end there. When his sister Sissy (Carrie Mulligan) re-enters his life, Brandon rejects her at every turn despite her attempts at affection with him. Sissy in contrast with Brandon, seems to see sex as a tool for achieving closeness with others, even if that closeness is not to endure. However, like Brandon, she carries a tremendous sense of insecurity and self-loathing that is only accented by her brother's coldness. Despite a few sexual hints in a few scenes, McQueen never tells us why either character hates him/herself or why Brandon rejects his sister. Nor does he ever need to. Mulligan and Fassbender's tortured performances give the audience all the necessary hints that these two have a dirty history that they are trying to forget or move on from.

McQueen's film making is virtuosic throughout, relying heavily on the long take for a great number of scenes, particularly the scenes of great intimacy between characters: a restaurant date between Brandon and a co-worker and later a walk down the street; a sexual encounter with that same co-worker; a sour performance by Sissy of the generally upbeat "New York New York"; Sissy's attempt to apologize to her brother. The choice of these long takes not only adds a level of realism to the scenes, but also gives the audience the opportunity to connect with its characters and both their brief joys or despair. Even a long take that simply depicts Brandon running down various New York City blocks enables the understanding of Brandon's need to run from his current life style and circumstance: from himself.  Juxtapose this with some heavily edited scenes (notably the sex scenes at the end of the film) and how artificial and lacking in intimacy they feel.

Ultimately, Brandon and Sissy are products of their world; "good people from a bad place" is how Sissy puts it. McQueen's film has no intention to please its audience, but to confront it for the damage that it has done and continues to do to itself. It's central symbol, sex, is merely a means of stripping everyone (including the audience) bare and exposing weaknesses and shortcomings; to feel shame for creating such misery. The film isn't pleasing in the least, but led by tremendous performances and strong direction, it feels like a fearless refreshing work of art.