Regie:
Steve McQueenKamera:
Sean BobbittMusik:
Harry EscottBesetzung:
Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie, Jennifer Butler, Lucy Walters, Elizabeth Masucci, Alex Manette, Hannah Ware (mehr)Streaming (4)
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Brandon (Michael Fassbender) arbeitet in der Werbebranche. An manchen Abenden zieht er auch gemeinsam mit seinem Chef David (James Badge Dale) um die Häuser, der Brandons Anziehungskraft auf Frauen gerne ausnutzt, um seinem Familienleben zu entfliehen. Brandons liebeskranke Schwester und Sängerin Sissy (Carey Mulligan) gibt ein Gastspiel in einem New Yorker Club und bleibt für ein paar Tage bei ihrem Bruder. Eine Wohngemeinschaft, die schon bald für Zündstoff sorgt. Der kontrollierte Brandon fühlt sich von seiner emotionalen Schwester zunehmend unter Druck gesetzt. Andererseits traut er sich endlich, seine Kollegin Marianne (Nicole Beharie) zum Essen einzuladen. Der anschließende Ausflug in ein Hotelzimmer endet jedoch in einer herben Enttäuschung. Als Brandon mitbekommt, dass Sissy eine Affäre mit seinem Chef am Laufen hat, rastet er aus. (ZDFneo)
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Shame ist ein sehr realistischer, manchmal fast anzüglicher Einblick in das Leben eines Mannes, der von Sex besessen ist und sich dessen nicht schämt, aber die Umstände verlangen, dass er sein derzeitiges (und wirklich leeres) Leben überdenkt. Die Leistungen sind atemberaubend, sowohl Fassbender als auch Mulligan spielen ihre Rollen mit Bravour und Verve. Die Geschichte selbst mag nicht perfekt sein (zumindest für mich), aber sie lässt mich oft erschaudern, vor allem, weil sie so authentisch ist. Ich muss auch Harry Escotts scheinbar fade, aber umso deprimierendere Filmmusik loben. Kurzum, ein Film, der mich weder umgehauen hat, noch mich auf den Hintern fallen ließ (wie viele andere), aber dennoch sehenswert ist.
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My low rating is not related to the shock of sexually explicit scenes or the lack of even minimal identification with the main character. It stems from the fact that Brandon was uninteresting to me from the beginning and I quickly felt from the film an artificially created situation and a superficial story. Simply put, I was bored and found the movie detached. Overall impression: 25%.
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In this movie, the second most remarkable role appeared that I have seen this year. After Ryan Gosling in the movie Drive, now Michael Fassbender showed what a real acting performance is, for which he would deserve at least two Oscars. For his acting performance and the sacrifice he gave to the movie. This sacrifice is really SACRIFICE. Shame is an incredibly hard-hitting film. Psychologically demanding to watch, but all the more believable on the characters. It tells a classic story of how we complain when we don't have something and how we complain when we lack something, thrown into extremes. Excellent story, but you need to not be afraid and look at the topic of sex from a slightly different perspective...and most importantly, want to understand.
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Whether you wake up alone in the morning, next to a steady partner, or with someone different every day, Shame attacks the core of each of us. Brandon's behavior may start out as just a casual walk with various sexual undertones, but the last half hour takes all the psychological weight and throws it into the viewer's lap. The mental pain, which increasingly radiates from Michael Fassbender's eyes, didn't repel me or destroy me, but instead incredibly fascinated me. A film that only in the last seconds definitively proves how complex and deep it is.
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Step by step toward self-destruction. To live for oneself. Without commitments and without meaning. We can’t take off the mask of cynicism, love doesn’t exist and sex ruins us. I basically agree with McQueen and I find it pleasing that he did not in any way soften his cold-blooded observational style, when he works with the human body as an objet d’art rather than as a vessel containing emotions, which break through to the surface only a few times and seemingly by mistake. Brandon otherwise thoroughly resists emotion and thanks only to his sister, the sole person for whom he truly feels anything (perhaps responsibility), he realises how fragile his protective shell is. He stubbornly (and with devastating consequences) refuses to accept his own vulnerability. There is no room for that in his world of strictly defined rules. With the exception of the condensed and riveting introduction and climax, the boldly long shots are unpleasant in that for most of the time they do not adopt the point of view of any of the characters, who thus do not tell the story, but are studied. The aim of this “unempathetic” means of filming is not verism (or voyeurism), however. On the contrary, the composition of the shots betrays a well-thought-out plan. Brandon and Sissy complement each other in a given shot, as if they are two faces of a single person (alongside the close-up of Brandon’s face in the bar, for example, his sister’s singing fills the empty space). With admirable effort, Fassbender continues to work at not being pigeonholed as another dime-a-dozen pretty boy. If anything, his mental and physical full frontal makes him a hope for the porn industry rather than a heart-throb. Nevertheless, the film itself is not pornographic. It isn’t provocative due to the extent of the nudity that it contains, but due to the naturalness with which it approaches human sexuality; it doesn’t try to elicit in viewers a feeling of shame over the nude human body. Pointing out the normality of sex and nudity suggests that Brandon’s abnormality doesn’t consist (only) in his obsession with sexual gratification. That is just one of the many symptoms of the disease of indifference from which society as a whole suffers. Appendix: As with Hunger, I don’t want to see McQueen’s second film again anytime soon. Shame is devastating not only for the protagonist, but also for the viewer. 85%
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