Where Shame is filthy, Bertolucci’s classic is erotic; where Fassbender’s Brandon is depraved, Marlon Brando is sexy. Still, the fleshly similarities are unavoidable.
The grim, clinical sex in Shame makes you flinch, but the absurdly creative carnality in Baker’s latest novel leads you to laugh out loud.
During his multiple masturbatory moments, could Fassbender have been channeling the artist’s infamous 1972 performance piece at the Sonnabend Gallery?
The vaguely nautical, formidably exclusive lounge where Carey Mulligan’s Sissy croons her achey-breaky version of “New York, New York.”
Our suggested version of the slinky gold frock Mulligan wears during her scene-stealing vocal turn.
The debut LP of this super-hyped new artist, who’s got some of Sissy’s lounge-singer vibe, drops next month.
The French—they’re so in touch with their taboos. Like that of Brandon and Sissy, here is another story of siblings too close for our comfort.
The most notable component of Fassbender’s wardrobe (when he’s wearing clothes at all) is a matte puffer vest, not unlike this Moncler version, that’s apparently omni-functional: worn while jogging, groping another man’s girlfriend, or having anonymous sex in a club.
McQueen’s first film, also starring Fassbender. The collaborators have yet another project en route, making them the new Viggo and Cronenberg.
Like Brandon, some people run to escape their own dark thoughts. The Japanese novelist runs for other reasons, which he illuminates in his 2008 memoir-cum-training guide.