Shame 2011 123movies

Watch: Shame 2011 123movies, Full Movie Online – Brandon is a 30-something man living in New York who is unable to manage his sex life. After his wayward younger sister moves into his apartment, Brandon’s world spirals out of control. Shame examines the nature of need, how we live our lives and the experiences that shape us..
Plot: Brandon, a thirty-something man living in New York, eludes intimacy with women but feeds his deepest desires with a compulsive addiction to sex. When his younger sister temporarily moves into his apartment, stirring up bitter memories of their shared painful past, Brandon’s life, like his fragile mind, gets out of control.
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Ratings:

	7.2/10 Votes: 196,806
	79% | RottenTomatoes
	72/100 | MetaCritic
	N/A Votes: 2709 Popularity: 27.1 | TMDB

Reviews:

Has a good reputation among critics and film-buffs, but I thought this was duller than dullsville on a dull tuesday.

Fassbender has got to be one of the most overrated actors in recent times. He’s got a distinctive look and his eyes pierces through the screen I’ll give him that. And a well-sized johnson (as proven on numorous ocassions here) but other than that he’s fairly mediocre.

Shame is nothing short of a masterpiece: every shot tells a story.

SYNOPSIS: (from Google)
Successful and handsome New Yorker Brandon (Michael Fassbender) seems to live an ordinary life, but he hides a terrible secret behind his mask of normalcy: Brandon is a sex addict. His constant need for gratification numbs him to just about everything else. But, when Sissy (Carey Mulligan), Brandon’s needy sister, unexpectedly blows into town, crashes at his apartment and invades his privacy, Brandon is finally forced to confront his addiction head-on.

REVIEW:

I’m certain Shame will always be my personal favorite McQueen film. McQueen tells a story with the camera and with the voice.

McQueen brought on Sean Bobbitt as cinematographer for this amazing project and Bobbitt does not disappoint. Together they craft some of the most revealing and beautiful scenes in recent cinema. The lighting for this movie (also headed by Bobbitt), aids in the visual storytelling.

Abi Morgan and McQueen’s script really shines, bringing Brandon’s addiction further into the light.

Harry Escott’s haunting score will never leave your brain after you see this film. Escott’s use of both classical and original pieces bring the film together.

Michael Fassbender gives a stunning performance as Brandon, one moment he’s casually strolling about, the next he’s acting on his most basic impulses, and the next he’s yelling at his sister. Carey Mulligan gave a great supporting role next to Fassbender as well. Both are given several scenes to shine.

The film uses its NC-17 rating to its fullest extent, yet none of the sex feels sensationalized. It’s all very real and most of the time almost disturbing to watch. McQueen delivers the entire story very artistically, including the sex scenes, which many directors could have messed up. This makes the film as a whole flow better. The movie portrays sex addiction (and addiction in general) in a very real way, while everyone is different we all feel shame after we’ve gotten our fix, and sometimes we’ll do anything to get that fix.

Becoming even more of a Fassbender Fan
This film instantly drew me in. Fassbender’s performance is complex and truly believable.I can honestly say that if you are not haunted by the torment of both Michael Fassbender’s and Carey Mulligan’s performance, then you are in denial. The pain is apparent, the intrigue of what happened to these siblings is staring you in the face throughout the film. The role’s Fassbender has chosen lately have made me an ultimate fan! Another McQueen movie, HUNGER, also stars Fassbender as an Irishman in political protest against the corrupt government of the “80’s. I tremendously enjoy watching him on the screen. Michael Fassbender relays raw emotion and true passion to create believable and relatable characters. Im looking forward to future projects.

Everything in this film, including the sex, has purpose and intention
Brandon (Michael Fassbender) is a man addicted to sex. Living alone in his New York apartment, his life is entirely circular. He meets with hookers, women on the Internet, women in bars and then goes to work in his office, where his computer is also littered with pornography. However, the careful order of his life is disrupted when his sister Sissy (Carey Mulligan) comes to stay with him. He has tried to ignore all her messages but she lets herself into his apartment uninvited. She is extremely messy and also finds company with Brandon’s sleazy boss David (James Badge Dale), which upsets him too. The unspoken past between the siblings adds further damage and tension to their relationship. Brandon must decide whether he is going to continue with his own lifestyle of no commitment or make more effort to help his sister.

When I went to see Shame what surprised me was the number of middle-aged women watching the film in the audience. On paper Steve McQueen’s film sounds like a blokes movie. The title ‘Shame’ is said to be a reference to the feeling a man experiences once he has ejaculated. Yet the subject of sex here is not for casual exploitation. McQueen is too intelligent for that. He is a trained visual artist and a director who has already challenged us with films like Hunger (2008). Everything in this film, including the sex, has purpose and intention. This is courtesy of the director’s unique formal properties and composition that build a world of stasis, followed by an unwilling removal from that safety zone. Brandon’s apartment and office are both filmed with white, sterile tones and large panes of glass. These are the cold, physical barriers that disconnect him from sustainable human connections. He is a character who is not interested in making long-term relationships with women but is content with brief sexual encounters and fleeting moments of pleasure. His cyclical nature is reflected in the opening scenes as he walks past the same still shot naked, the steady framing showing his stability and control. Outdoors, he is much the same because he wears one grey coat for most of the film, showing his repression and unchanging ways, but perhaps also an attempt to mask his shame too. His intensity is both an attraction and detriment towards women. His unflinching gazes makes a girl on a train deeply uncomfortable but there is also a very funny scene in a bar where he and his boss meet a group of women but only he succeeds. After trying and saying absolutely everything, his boss David fails because he lacks Brandon’s control and self-assurance in knowing exactly what he wants and finding people who match that desire. Fassbender, unlucky to not be nominated for an Oscar, is astonishing in the haunting and intense qualities he gives this character, followed by savage outbursts of anger to counter his repression.

Sissy is Brandon’s polar opposite and provides the perfect contrast to the controlled and isolated lifestyle. Mulligan in her brief career has proved to be an actress of great emotion and innocence. She is one of the most promising young talents but we’ve never seen Carey Mulligan like this before. She gives us something unique to her personality: flamboyance. Due to her entirely erratic nature Sissy is completely disruptive to Brandon’s structure. Inviting herself in unannounced, she has a bath and plays records at full blast, drinks straight from a carton out of the fridge and becomes blindly entangled with Brandon’s boss. These details build a picture of someone who is subconsciously disruptive of other people’s spaces, which is a lot like Brandon, only in a different way. Her character is not a bad person, just one who has the desire to be noticed in this dynamic city. The most poignant representation of this is a classic moment in cinema where Mulligan, who sang live no less, provides a leisurely but soulful rendition of ‘New York, New York’, emphasising her character’s desire to adapt. As with Brandon, Sissy is defined by her costume too. There’s a great two-shot in a train station photographing the pair of them together. We see her clothes, a leopard print coat and a bright red hat, juxtaposed against his dark, gloomy outfit. That one shot perfectly reflects what contrasting characters they are. A gutting climatic scene further shows this contrast in colour but under the most dramatic and powerful circumstances. Smartly, as she disrupts Brandon’s life the formal qualities change as well. When she brings David to the apartment McQueen switches to a hand-held camera, and makes the framing tighter so that the action is intensified and shows that Brandon no longer has control of his whole life. Countering this is a wonderful sequence where Fassbender is photographed running down the block in a single tracking shot. It looks beautiful but also servers to restore stability to his character. What amounts from these formal techniques is a film that has to be read because it is subtle and beautifully understated, visualising its characters with balance as flawed human beings. The film is marred only by a few extra endings but when the last one comes it is not cheap or overly ambiguous, just perfect. And who can argue with that?

Other Information:

Original Language en
Runtime 1 hr 41 min (101 min)
Budget 6500000
Revenue 3909002
Status Released
Rated NC-17
Genre Drama
Director Steve McQueen
Writer Steve McQueen, Abi Morgan
Actors Michael Fassbender, Carey Mulligan, James Badge Dale
Country United Kingdom, Canada, United States
Awards Nominated for 2 BAFTA 50 wins & 94 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arricam LT, Cooke S4 Lenses
Laboratory DeLuxe, New York (NY), USA (color), LipSync Post, London, UK (digital grading), Mega Playground, New York (NY), USA (dailies)
Film Length 2,752 m (Portugal, 35 mm), 2,757 m (6 reels)
Negative Format 35 mm (Kodak Vision3 500T 5219, Fuji Eterna 250D 8563)
Cinematographic Process Digital Intermediate (2K) (master format), Techniscope (source format)
Printed Film Format 35 mm (anamorphic) (Fuji Eterna-CP 3514DI), D-Cinema