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Dog Days (2001)
"Hundstage" (original title)

R  |   |  Drama  |  9 November 2001 (Italy)
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Ratings: 7.1/10 from 4,547 users   Metascore: 66/100
Reviews: 42 user | 54 critic | 14 from

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 »


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Cast overview, first billed only:
Maria Hofstätter ...
die Autostopperin
Alfred Mrva ...
der Mann für die Sicherheit
Erich Finsches ...
der alte Mann
Gerti Lehner ...
die Haushälterin
das junge Mädchen (as Franziska Weiß)
Rene Wanko ...
der Freund
Claudia Martini ...
die Ex-Ehefrau
Victor Rathbone ...
der Ex-Ehemann
Christian Bakonyi ...
der Masseur
Christine Jirku ...
die Lehrerin
Viktor Hennemann ...
der Liebhaber
Georg Friedrich ...
der Freund des Liebhabers
Ingeborg Wehofer ...
Car accident victim
Leopold Schlol ...
Car scratch victim
Silvia Piglmann ...
Car scratch victim


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 with a serious marriage problem and an old man, whose wife died long before on the search for some sexual entertainment live their lives while their lifelines cross from time to time. Written by Moritz Muehlenhoff <>

Plot Summary | Add Synopsis



Motion Picture Rating (MPAA)

Rated R for strong sexual content, nudity, language and some disturbing behavior/violence | See all certifications »

Parents Guide:





Release Date:

9 November 2001 (Italy)  »

Also Known As:

Dog Days  »

Filming Locations:

Company Credits

Production Co:

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Technical Specs



Aspect Ratio:

1.85 : 1
See  »

Did You Know?


Second in the poll for FIPRESCI GRAND PRIX OF THE YEAR 2002. See more »


At the beginning of the movie in front of the supermarket the boom mic and the camera are reflected in a car window. See more »


Referenced in Free Radicals (2003) See more »

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User Reviews

Deeply disturbing and great film
28 March 2002 | by (Sweden) – See all my reviews

This film has got to be ranked as one of the most disturbing and arresting films in years. It is one of the few films, perhaps the only one, that actually gave me shivers: not even Pasolini´s Sálo, to which this film bears comparison, affected me like that. I saw echoes in the film from filmmakers like Pasolini, Fassbinder and others. I had to ask myself, what was it about the film that made me feel like I did? I think the answer would be that I was watching a horror film, but one that defies or even reverses the conventions of said genre. Typically, in a horror film, horrible and frightening things will happen, but on the margins of civilized society: abandoned houses, deserted hotels, castles, churchyards, morgues etc. This handling of the subject in horror is, I think, a sort of defence mechanism, a principle of darkness and opacity functioning as a sort of projective space for the desires and fears of the viewer. So, from this perspective, Hundstage is not a horror film; it takes place in a perfectly normal society, and so doesn´t dabble in the histrionics of the horror film. But what you see is the displacement of certain key thematics from the horror genre, especially concerning the body and its violation, the stages of fright and torture it can be put through. What Seidl does is to use the settings of an everyday, middle class society as a stage on which is relayed a repetitious play of sexual aggression, loneliness, lack and violation of intimacy and integrity: precisely the themes you would find in horror, but subjected to a principle of light and transparency from which there is no escape. It is precisely within this displacement that the power of Seidl´s film resides. Hundstage deals with these matters as a function of the everyday, displays them in quotidian repetition, rather than as sites of extremity and catharsis - a move you would encounter in said horror genre. One important point of reference here is Rainer Werner Fassbinder. Fassbinder also had a way of blending the political with the personal in his films, a tactics of the melodrama that allowed him to deal in a serious and even moral way with political issues like racism, domination, desire, questions concerning ownership, sexual property and control, fascism and capitalism etc. Seidl´s tactic of making the mechanisms of everyday society the subject of his film puts him in close proximity with Fassbinder; like this German ally, he has a sort of political vision of society that he feels it is his responsibility to put forward in his films. During a seminar at the Gothenburg Film Festival this year, at which Seidl was a guest, he was asked why he would have so many instances of violated, subjugated women in Hundstage, but no instances of a woman fighting back, liberating herself. Seidl replied that some may view it as immoral to show violence against women, but that he himself felt it would be immoral not to show it. An artistic statement as good as any, I think. Thank you.

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