Fassbender just can’t get enough

Shame

Director Steve McQueen Screenwriters Steve McQueen, Abi Morgan Cast Michael Fassbender, Carey Mulligan

For Brandon (Fassbender), sex is what starts and ends his day. He wakes up, walks into the shower and masturbates. At night, the internet gives him access to all sorts of pornography. That’s not all. He often enjoys the company of prostitutes, one night stands, and even more masturbation in the men’s room of his workplace. On the outside, he’s your average good-looking advertising executive. Brandon probably knows that he’s a sex addict. He would never admit it, but you can see the pain of a tortured man in his face whenever he tries to satisfy his constant sexual craving that is slowly eating away at him. He is forever tormented – and sex provides that brief moment of relief and satisfaction. This doesn’t last long of course, but this will have to do. And as a single man living alone in his apartment, Brandon seems to be in control of his life.

This is until the sudden appearance of his younger, troubled sister, Sissy (Mulligan). He is not pleased with this unannounced visitation, but being his own sister, tries to take care of her. But it turns out Sissy is just as damaged as Brandon. Whereas Brandon tends to actively seek out a way to find satisfaction, Sissy is more helpless and relies on others for comfort and company. Her low self-esteem and self-destructive behaviour make her emotionally vulnerable. Hooking up with Brandon’s married boss (the excellent James Badge Dale), on Brandon’s own bed no less, never cleaning up after herself, the carefully organised New York apartment life that Brandon is so used to and needs starts to fall apart as the unstable Sissy crashes head-on into his life.

What made these characters who they are is not the focus for McQueen. A slight hint only suggests their troubled childhood and other than that, the audience has to fill the gaps. What Shame does so brilliantly however, is the careful examination of its extremely complex characters. Brandon’s world, for what it’s worth, is a meticulously structured one, and this is shown through the neatly designed sets that surround him. It’s almost too clean, to the point that it suggests Brandon cannot afford the time or desire to decorate. His mind is on one thing only.

It’s what Fassbender’s remarkable performance shows that is truly fascinating; the inner Brandon, the side of him he never shows to anyone. His colleagues don’t suspect a thing, and initially, his sister doesn’t quite know. Fassbender is an intense, focused presence on screen, and his quiet, blank gaze is unnerving as he seduces women from afar. From his perfectly still, unflinching motion, we can only presume there is no limit to his dark fantasies. McQueen’s frequent use of close-ups into the actor’s face further boosts his range as the fearless actor finds that delicate balance between superficial charm and disturbing hidden sexual appetite.

Brandon even contemplates whether a normal intimate relationship is ever possible for someone like him. This prompts him to approach a co-worker; something that doesn’t quite lead to the things he was expecting. It’s heart-breaking to see a man so distant from others – he’s attracted to no-one and sex is merely a convenient gateway for orgasm, and Brandon is never too fussed about how he goes about this. On one night of desperation, he even goes to a gay bar. There is nothing to suggest that Brandon is gay, or straight for that matter. Building a deep, meaningful connection is not his specialty, and this is all he’s ever known.

Acting against Fassbender is the equally effective Mulligan, who shows, among other things, that she can sing too. As she performs a stripped down version of Frank Sinatra’s ‘New York, New York’ in a cabaret bar, it becomes the defining moment that tells us of the pain that Sissy has suffered over the years, captured so exceptionally well by the young English actress. During this memorable scene, McQueen shifts his camera from Sissy to Brandon, showing our protagonist suppress his emotions. He does have a soft spot for his uninhibited wreck of a sister, but still has no choice but to put his needs first.

Much like his actors, McQueen remains brave throughout the film, and is never afraid to look away even in the most exposed, uncomfortable scenes. His long takes will no doubt frustrate some viewers, but Shame is not supposed to be an easy watch. The explicit nudity is necessary to immediately set the tone and McQueen doesn’t beat around the bush introducing the central character. We are supposed take Brandon for what he is, but it’s hard not to wonder just what it was that plunged him into the world of sex addiction. What happens in the few days of their lives we do get to see is no doubt a gripping one, but you may not leave the cinema feeling fully invested in its characters. But what Shame is proud to boast, its top-notch performances and perceptive direction are well worth your while.