Shortbus is probably the most sexually graphic non-porno film ever made.
In the first minute alone, we see full frontal close-up male nudity. In the few minutes following, we are witness to a guy's attempt at giving himself a blow-job while recording the act on video. An apparently happy couple having all sorts of graphic sex, including positions I never thought or knew existed. And a younger gentleman getting dominated by a working dominatrix, in a hotel room which just happens to overlook Ground Zero. The sex in the film is as real and graphic as it can possibly get. There is penetration of many orifices, strait sex, gay sex, blow-jobs, hand-jobs, three-somes, and an underground multi-sexual salon where anything goes. The endless sea of people having sex in the film's orgy sequences are credited at the conclusion of the movie as Sextras. This is not a film for your grandfather, and it's probably not a film for your mother.
John Cameron Mitchell's follow-up to his critically acclaimed first feature Hedwig and the Angry Inch follows a group of several emotionally challenged post 9/11 New Yorkers. Sofie (Sook-Yin Lee) is a chinese-canadian sex therapist slash couple councilor who has lived life without even having an orgasm. For years she has been faking it with her husband and first partner Rob (Raphael Barker), whom she loves dearly. James and Jamie are live-in boyfriends. James has recently suggested that they be open to others, "Monogamy is for Strait couples," he jokes. Severin (Lindsay Beamish) is a not quite cute enough to be on Suicide Girls goth chick who is a working dominatrix. She has trouble letting people in and has never experienced a deep relationship.
And then there is Shortbus, an underground "salon for the gifted and challenged," as described by Brothel Madame (Justin Bond) who theorizes that the reason everyone is flocking to New York City is because 9/11 was the only real experience they ever had. Sortbus is a weekly party held in a Brooklyn loft, a place where "anything goes and everyone comes."
The stories connect and intertwine, connected only by shortbus and a series of electirical brownouts.
All of the actors turn out a surprisingly authentic and vulnerable performances. Sook-Yin Lee is as real as they come.
The way the film begins, it appears that Mitchell is channeling Happiness director Todd Solondzish, who's apparent desire has become only to shock. But it quickly becomes clear that Mitchell is using the sex as a metaphor for the characters lives. It's all done as part of the story, and thematic flavor. Could Mitchell have made the movie without the graphic sex? Probably, but a censored version of the story would only be counterproductive, like the mid-90's radio friendly version of Nirvana's Rape Me titled Waif Me, which attempted to exercise the word Rape from the lyrics.
Fans of the Hedwig music won't be disappointed, as the film features more than a few performances, including an all-out over-the-top climax featuring a Marching Band.
The movie was developed using a two and a half year on/off again workshop process (which was partially funded by Moby) inspired by the disparate techniques of Cassavetes and Altman, utilizing a cast of unknown mostly first time actors. Mitchell's goal was "to make a comedy that would be sexually frank, thought provoking and, if possible, funny." I believe he has succeeded on all accounts.
/Film Rating: 6.5 out of 10