Source: funnyhownobodyislaughing
Shame makes for a clear contrast to American Psycho, countering that film’s histrionic violence with histrionic sex. Both films, however, are about emotionally vacant men and their disconnection from the people around them, and the chief conceptual difference between them is that Shame’s central character is confronted by a family member who forces him to introspect his compulsive, destructive interest in pornography. In neither film do I fully sympathize with the central misanthrope; rather, as characters I find their behavior, however off-putting, transfixing for their alienness. It’s like going to the zoo only to find the animals more disquieting and perverse than expected.
Today, in beautiful movie posters…
Shame- Steve McQueen
This Hungarian poster for Shame was banned.
via:slippinghusband
*Editor’s note: Really? The Hungarians wanted to be that obvious?
(via stoptalkingthanks)
Source: slippinghusband
Follower’s poll 2011:
#1. Tree of Life (Terrence Malick)
#2. Drive (Nicolas Wending Renf)
#3. Melancholia (Lars von Trier)
#4. The Turin Horse (Béla Tarr)
#5. Midnight In Paris (Woody Allen)
#6. Shame (Steve McQueen)
#7. The Skin I Live In (Pedro Almodóvar)
#8. A Separation (Asghar Farhadi)
#9. Meek’s Cutoff (Kelly Reichardt)
#10. Hugo (Martin Scorsese)
via: branduponthebrain
Source: branduponthebrain
Steve McQueen on his latest film, Shame
I’m grateful Fox wants to release the movie. I mean, it just shows you that there is an audience for serious movies, and I think audiences deserve this cinema. We have to keep cinema alive. It’s very important to me. It’s not just superheroes and romantic comedies. We need a space for serious film. So I’m just so grateful.
McQueen doesn’t judge the character or probe beneath his hard surface; and though Fassbender exposes plenty of himself, he declines to open a window into whatever Brendan has in place of a soul. The director’s and actor’s point, boldly taken and bravely shown, may well be that for this nonstop cocksman there is no hope of change, no resolvable crisis, no there there. So audiences — should they get a chance to see this distinctly if distantly admirable film — will have to read their own moral qualms into Brendan. His fate may be perpetual imprisonment in his compulsions; at the end of the film he’s where he began. Again he sees the pretty woman on the subway; again she returns his smile; and this time she’s not wearing her wedding ring. The predator is back on the chase, to search for a glimpse of heaven in the Second Circle of Hell he’s created for himself.
Shame- Steve McQueen
