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“I was seeing porn becoming digital culture, weirdly separating us from each other,” he says. Other films did it, but the ones at the time were very grim.” Mitchell wanted something more reflective of his city, humorous but grounded.
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I used sex to tell a story that wasn’t about sex. “It really began with a formal challenge: How can I use explicit sex - real sex - in a story that wasn’t pornographic?” Mitchell says. We follow a character’s journey to pleasure, another’s feelings of being neglected, another’s self-doubt and isolation. The film tackles subjects like suicide, depression, and dissatisfaction, but it does so in a way that’s ultimately hopeful and relatable. That’s not to say there aren’t tragic moments. version of Queer as Folk had just finished its run - such explicit and introspective depictions were certainly new and thrilling. Though queer sex was becoming less alien thanks to aforementioned art-house cinema and even on television - this was the heyday of The L Word, and the U.S. Through the use of diverse, unsimulated sex scenes, Mitchell creates a universal playground for the characters to find themselves.
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In one room there are screenings of boring yet important films in another an orgy is in full swing. Hosted by New York nightlife legend Mx Justin Vivian Bond, with music by the always enigmatic musician Bitch, the salon is filled with women, men, and nonbinary members interested in art and sexual liberation. In the case of the film, “shortbus” refers to the idea of being different, a freak, a rebel, a cast-off. Later, he and his partner, Jamie (PJ DeBoy), are in a couples counseling session with Sofia (Sook-Yin Lee), their sex therapist who has her own struggles with orgasming.Īfter a shocking altercation during one of their sessions, Jamie and James invite Sofia to Shortbus, a weekly salon in Brooklyn. The film heads across town to James (Paul Dawson), who is attempting to autofellate himself. In one, a nonsexual domination is delivered by Severin (Lindsay Beamish). The film opens with scenes of unabashed visceral pleasure. Populated by hip indie New Yorkers, Shortbus celebrates the mixing of boroughs, ideologies, and bodily fluids with joy. Fifteen years later, Shortbus - now being rereleased in stunning 4K by Oscilloscope Films - feels as contemporary as ever.
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The idea that life is fleeting, so you’d better live it the way you see fit, became an ethos. Gay/straight, dom/sub, Black/white - it was a time when identity was no longer viewed as either/or, and fluidity began to emerge. Mitchell showcases a city attempting to put itself back together while its inhabitants search for new ways to connect and explore their own metamorphoses.
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Shortbus was his first film post-9/11, and it’s a movie that depicts the New York of that moment with beautifully broken accuracy. Though Hedwig the film debuted in 2001, Mitchell premiered the play off-off-Broadway in 1997. Then there was John Cameron Mitchell’s Shortbus, which didn’t just depict gay sex as hot and satisfactory it showed it up close, blowing many minds with its blend of cogent storytelling and on-camera masturbation, threesomes, penetration, and ejaculations.īut Mitchell - already a queer film icon for penning and starring in the beloved Hedwig and the Angry Inch - had much more on his mind than titillation. Queer sex was a prominent theme of independent film in 2006, with movies as different as Quinceañera, Puccini for Beginners, The Bubble, Boy Culture, and Another Gay Movie featuring various states of same-sex coitus - sometimes presented as romantic, but sometimes as exploitative or laughable.