Dog days

Dog days
               Genre: Drama
  The worst heat of summer hangs over the city. At the edges of Vienna, where row produce settlements, shopping markets, construction sites, parking lots and wide roads leading nowhere is a geographical and a real homelessness, allied to the structure of the urban landscape in the fight against the people with the merciless climate. Unshaded areas, and vast fields of concrete reflects the dazzling sunlight, and allowing themselves to a remarkable scene of isolation, to an unreal concentration on the sidelines. Planned Openness here means confinement; alleged movement means stagnation. The former is a natural habitat – in the sense of identity – have become homeless, the periphery is the same in several respects transitions and unfinished.

One suspects that people who live here have to be unhappy, that her anonymous, solitary, unrelated existence in which man is a wolf to man, although not suffer, but to understand. Triebgesteuert instinktgeleitet and like animals, they are slaves to their desires, fears and aggressions, which are directed primarily against women and make it visible that complex relationship of dependency, the need for protection and helplessness, domination and subordination, admiration and disgust inextricably related to each other. In Ulrich Seidl’s controversial film Dog Day Afternoon, which won at the Venice Film Festival with the Grand Jury Prize, nudity, and are thus uncovering the central visual metaphors. And that confront the viewer with an intimacy that is ordinary and bizarre, abysmal and embarrassing and exposing the voyeuristic pleasure of the cinema goer a tough test of endurance. The view through the keyhole is pretty disgusting and his director is confident that the viewer sees himself here.

“It shows human life in a truth that is sometimes disturbing,” says Seidl. Life itself and the people who run it is: That a young, hot-headed macho, who watches with violent jealousy over his frail friend, a divorced couple that has not got over the accidental death of his child and still lives together, a sweating Alarm representatives on the trail of car vandalism, and a mind-numbing in their verbal directness hitchhiker who speaks almost incessantly, and finally an older teacher, a night of excesses and humiliations suffered by the two types Zuhältermilieu, while a narrow-minded, dog-loving retired housekeeper for Striptease asks. It is always about failed communication and an unfulfilled yearning for love, for what one does to another in search of a bit of luck, and the remains of a lost dignity.

Seidl’s film is not for from reality, because he stripped of his illusions cinema content and reduced to the hard core of an unvarnished representation of reality. He was not told in the form of possibility, but it shows consistently and relentlessly is a status that makes fiction and reality almost indistinguishable, which will by the game of amateur actors and the authenticity of the scenes strongly underlined. This makes the encounter with the dog days of intense, sometimes unpleasant experience. The one-sided focus on the perverse and ugly transported the audience but also defensive and distance, and thus make it difficult to find that empathy, in which he reflected his own image could be.

(Wolfgang Nierlin)

Title: Dog Days Country of production: Austria Year of production: 2001 Length: 120 (Min)

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