NB: I may give away some plot details, but it doesn't really matter.

I didn’t really have a clear idea of what to expect when I decided to see Shortbus. Sometimes that’s the best way to walk into things. I knew that John Cameron Mitchell had been the force behind Hedwig and the Angry Inch and so was expecting something probably funny and poignant, maybe a little angry, but well executed.

By two minutes into the film, I had a much better idea of what was in store. A couple of points to keep in mind: the opening sequence starts with an extreme close-up of a model of the Statue of Liberty, then pans to a somewhat psychedelic miniature of Manhattan, a cartoon rendering, actually, and ends with a zoom into two craters in the ground.

We then discover James, one of a couple who had been calling themselves “Jamie and Jamie” until James renamed himself. He is in the bath with his ever-present video camera, filming his genitals. He then proceeds to a determined session of autofellatio, recorded not only by his camera, but by Caleb, who lives across the street and whose window looks into the two Jamies’ apartment. This is interspersed with scenes of wild and inventive sex between Sophia, a “couples counselor,” and her husband, Rob. Eventually, we encounter Shortbus, a bar/cabaret/lonely hearts club with a heavy dose of art, music, intense discussions and rampant sex.

The story focuses on James (Paul Dawson), who is depressive and has never allowed himself to be penetrated, and Sophia (Sook-Yin Lee), who has never had an orgasm, although she fakes them regularly for Rob. Mitchell says that sex is a way of connecting, and that’s what the film is about. I can't deny the validity of that statement, but in this case I couldn’t help but see satire in his portrayal of the ways people make the attempt at connection, most of which seem to be aimed more at avoiding the realities of their situation. It is not, however, savage satire, although the scene in which Sophia and Rob (Raphael Barker) share affirmations after having an argument is one of the great put-downs of pop psych and political correctness. There is a great deal tenderness, coming at odd times and from unexpected quarters – Sophia falls in with Severin (Lindsay Beamish), a dominatrix who has her own difficulties with relationships, while Ceth (Jay Brannan), who is an absolutely adorable young man, has an intense but platonic discussion with a much older man who claims to be a former mayor of New York (Alan Mandell). Everyone seems to be searching, not necessarily for who they are, but for what they need, and it all seems to wind up as overcoming fear. Raphael Barker, in fact, does an amazing job of portraying this idea with a great deal of subtlety, when, after a session with Severin, he again comes to Shortbus with Sophia and, with a glance and a not-quite smile, delivers the message that he has discovered something that has given him – something: peace, insight, a level of comfort with himself that he didn’t have before. It's beautifully done, and almost too understated.

There is lots of sex but no obscenity, and that’s the best way I can characterize it. I think one problem with portraying sex in film (or anywhere else, for that matter) is that all too often it is an “event,” set off by the shared discomfort that comes from our somewhat ridiculous taboos. Mitchell has made it an integral part of the story, neither highlighted nor downplayed, neither self-conscious nor embarrassed. Yes, the scenes are graphic, there is a “money shot,” as they say in the trade, there is masturbation, one-on-one, a three-way, and a couple of orgies, and sometimes it’s funny, sometimes it’s important, sometimes it’s delicate and tender, and sometimes it’s just recreation, but it’s always simply normal. If for no other reason than that, I rank Shortbus as one of the most political films of the year.

This is the kind of film in which taking it apart to examine the components is pointless: characterizations may be thin in some opinions, but they are what they need to be –- the cast does deliver (Lee is amazing as Sophia). There’s no plot to speak of, but we’re used to that by now. There are places where it loses focus for a bit (for which it gets a real 4.5), but it comes back to itself, and there is enough to it that you can take away a lot of different things. (I don't want to call it "heartwarming," even though it is, because that makes every film sound like Lassie Come Home.) It has humor, it has intelligence, it has style, it has sex –- it even has a rousing finale, complete with marching band.

I loved it, and I'm still not sure why, but I would gladly go see it again. In fact, I probably will.

(Note: for some reason, this film is not under "In Theaters." I don't know if the DVD is out yet, but it's worth keeping an eye out for.)

Recommended: Yes

Suitability For Children: Not suitable for Children of any age