Michael Winterbottom’s filmography is marked by its eclectic nature, constantly challenging cinematic norms. “9 Songs” stands as a particularly unique entry, immediately identifiable by its structure: explicit sexual encounters punctuated by musical performances. Clocking in at just over an hour, the film dedicates roughly half its runtime to raw, intimate scenes and the other half to vibrant music. These are not gratuitous displays, but rather intimate and seemingly authentic portrayals of physical intimacy, culminating in a brief exploration of mild bondage. A palpable sense of melancholy permeates the film, established from the outset with opening shots of a small aircraft traversing the desolate Antarctic landscape. This visual cue signals that Matt (Kieran O’Brien) is in a state of reflection, reminiscing about his fleeting affair with Lisa, a younger American woman he met in London. Matt, a glaciologist, spends his professional life uncovering the Earth’s past, and this film feels like an excavation of a personal past relationship. Lisa’s background remains deliberately vague; the film offers scant details about her life beyond her apparent enjoyment of sex and a capacity for physical intimacy without demanding deep emotional attachment. For Matt, the affair leaves behind only a collection of “warm memories.”
Unpacking the Premise: Sex and Music in “9 Songs”
The film’s title, “9 Songs,” directly refers to the musical interludes that segment the narrative. These aren’t just background tracks; they are integral to the film’s structure and atmosphere. The songs are primarily high-energy rock performances captured at Brixton Academy, a famous London venue. While the reviewer notes “noisy rock numbers,” the soundtrack also includes at least one piece by Michael Nyman, suggesting a range in musical style. The film implies a shared taste in music between Matt and Lisa, as their initial meeting occurs at Brixton Academy. The songs act as markers within their relationship, almost chapter headings in their brief story, though the original review questions whether they contribute significant meaning beyond this punctuating function.
Characters and Performances: Matt and Lisa
Kieran O’Brien embodies Matt, a character previously known for portraying Fitz’s troubled son in “Cracker.” O’Brien convincingly fulfills the physical demands of the role, navigating the explicit scenes with commitment. Margo Stilley’s portrayal of Lisa is described as “uncomplicated,” suggesting a natural and unpretentious approach to the character. The original review acknowledges the bravery of both actors in undertaking such roles, expressing hope that it wouldn’t negatively impact their careers. This highlights the potentially controversial nature of the film and the actors’ willingness to push boundaries.
Controversy and Critical Reception: Art or Pornography?
“9 Songs” courted controversy due to its explicit sexual content. The original review notes the film’s successful navigation past censorship, categorizing it as “Art” rather than “Pornography.” This distinction becomes a central point of discussion surrounding the film. The reviewer draws a parallel to “Shortbus,” another film that blurred lines of sexual explicitness in cinema, questioning what direction such films might take in the future. The reviewer personally expresses a preference for less anatomical detail in even adult love stories, favoring “crackling dialogue” or “nice scenery” instead. This reveals a critical perspective that while acknowledging the film’s artistic intentions, questions the necessity and impact of its explicit content.
Censorship and “Art” Status
The film’s ability to bypass censors and be classified as art underscores a broader conversation about the boundaries of artistic expression and the depiction of sexuality in film. “9 Songs” challenges viewers to consider what constitutes art versus pornography, prompting reflection on intent, context, and artistic merit.
Viewer Reaction and Lasting Impression
The original review’s concluding thoughts reveal a somewhat ambivalent reaction. While acknowledging the film’s achievement in depicting real sex within a narrative context, it questions the ultimate value and direction of such explicit content. The preference for traditional cinematic elements like dialogue or scenery suggests a desire for emotional and narrative depth beyond physical explicitness. Despite the “warm memories” the film depicts Matt holding onto, the reviewer’s final sentiment implies a lingering question about the film’s overall impact and purpose within the landscape of adult love stories.
