'Shortbus' review Issue #29

By Jocelyn Ehnstrom
Published: September 1st, 2006 | 12:00am

Shortbus
Directed by John Cameron Mitchell

John Cameron Mitchell is on a mission to do away with the sexual mores that restrict cinema and cause uncomfortable audience members to giggle like schoolgirls. Unfortunately, the young director can’t put his agenda for sexual liberation aside to incorporate the qualities that make a strong film, as is the case with Shortbus, named after the smaller school bus used for children with special needs.

Mitchell explores the idea of sexual normalcy through his characters’ relationships, and their individual storylines converge at a fictional club in Brooklyn called Shortbus. The club is also the setting for the unique musical interludes where, like in the director’s debut, Hedwig And the Angry Inch, the movie thrives. Throughout the rest, Mitchell flirts with the same campy style of his first film, but never commits completely, resulting in an overall inconsistent feeling. New York drag performer Justin Bond, who contributes an immense amount of talent as the club’s Brothel Madame, effortlessly leads the film’s songs, including the climax in which the Hungry Marching Band joins for a sentimental sing-a-long.

The movie lacks authenticity, due mostly to the casting of both professional and nonprofessional actors, who deliver a loosely scripted improvisation. Like Gus Van Sant’s Elephant, the film seems amateurish, as the non-actors’ inadequacies are conspicuous against the touchy subject matter. In one particular scene, a group of lesbians shares anecdotes of their perfect orgasms, but the outcome is far sillier than it is poignant. This absence of realism is surprising since Shortbus has gained notoriety for showing unsimulated sex. Perhaps Mitchell should realize it’s more important to hire actors who are comfortable in front of a camera, rather than people who are willing to have sex in front of one.