In a suburb of Vienna during some hot summer days: A teacher who is in bondage to a sleazy pimp, a very importunate hitchhiker, a private detective on the run for some car vandals, a couple... See full summary »
Marian, a middle aged nurse, devotes herself to her patients like a saint. Sometimes she even takes on the role of a redeemer, by helping the gravely ill to the soothing order of ultimate ... See full summary »
Bien de Moor,
Parallel stories of Eros set in 200 B.C. Nomadic shepherds, plagued by drought, happen on a fishing encampment with plentiful fresh water. The local men are away but will return when it ... See full summary »
The final installment in Ulrich Seidl's Paradise trilogy, 'Paradise: Hope' tells the story of overweight thirteen-year-old Melanie and her first love. While her mother travels to Kenya ('... See full summary »
This documentary, Ulrich Seidl's full-length film debut, examines the lives of the street newspaper sellers in Vienna, a mixture of men from Turkey, India, Pakistan, Egypt and Eastern ... See full summary »
Kumar Saha Probil
Let's be frank: these times are going to be seen as more decadent in-scope than Weimar Germany (1919-1933). I have only recently come to find Ulrich Seidl's documentaries, but this is how it should be done when portraying a society, and her inhabitants. While this documentary is ostensibly about a subculture of models in Austria, it could be about the same kind of people anywhere in the Westernized world. This is a common-theme of Seidl's documentaries, and I believe it isn't always his intention. Like the director, we are seeing these people and their lives for the first-time.
The same social-trends and phenomena going-on nearly everywhere in our era, and Seidl is simply capturing them as they are. Of course, all cinema is artifice, but somehow, even in his set-ups, the director is able to capture those amazing moments-of-truth that even escape the participants. What is singularly-depressing and distressing is how much all of this resembles America. Why travel, when everything is a hellish urban-sprawl underlining the meaningless existence of our current human-world? Seidl has an answer: People, and how they deal with this yawning-abyss of modernity offers some hope. Somehow, they survive and continue-on. People are what-matters to Ulrich Seidl.
Some reviewers have stated they felt Seidl "hates his subjects," which I find to be patently-false. He shows them unadulterated, and for what they are. His camera's-gaze is--as in all of his films--non-judgmental and authoritative. There has been some controversy over the director's documentaries being "staged," which is unlikely given the obvious sincerity of the models. Somehow, Seidl managed to get his subjects to relax, and to be themselves with no filtering. It's sad that young-women enter this life--if you want to call it that. They mutilate-themselves, starve-themselves, and hate-themselves. Maybe they already did.
The final-tableau is an incredible-moment that is undeniable in its truth: the main-model and her boyfriend are having a post-coital conversation (while drinking-in-bed in a Hotel). An ambulance is heard outside, and she says, "They're taking someone like you away," and she laughs. She continues: "You know, I know a good psychoanalyst." The boyfriend responds, "I didn't think people like you could survive without a psychoanalyst." The extended laughing-fit he falls-into is both hilarious, and chilling, as the model seems to slowly sink-into-herself...a powerful-truth has been revealed in the birthplace of analysis. This is the time we live-in. Models is a documentary that delivers on all-fronts, and exposes the Nietzschean-abyss.
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