Hundstage seidl online dating, jesus, du weißt
Ulrich Seidl - Hundstage / Dog Days (2001)
I cannot understand the constant desire for fast paced cutting. I should stop defending the film. Do we really need yvette schreurs dating games narrative signposts that we are force-fed in films.
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.
An artistic statement as good as any, I think. I swizzle dating the moment when the couple visit the grave and when the old woman does the striptease to be very moving. Sign in to vote.
Just go and see it. 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. 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: 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 hundstage seidl online dating I think it is in the tiny minutiae of life that these moments are revealed.
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.
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. This is a marvellous film that is disturbing and shocking but not in a gratuitous manner.
It is one of the few films, perhaps the only one, that actually gave me shivers: As a result we have complex characters that seem too real for some viewers perhaps to stomach.
Seidl draws on his documentary background and indeed blends the this with the fictional elements. You need to look underneath the surface of the characters to see what makes them tick and Seidl has done this.
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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. To all those reviewers harping on about lack of plot, then surely this is to miss the point.
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 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. One important point of reference here is Rainer Werner Fassbinder.
Deeply disturbing and great film mrmjoh 28 March This film has got to be ranked as one of the most disturbing and arresting films in years. A bleak and at time funny reality ellkew 28 November An outstanding film by all accounts.
Was this review helpful? Go and watch a commercial if you need to but leave the rest of us with well made, insightful films that speak about the bigger issues in life. Life is not that black and white. Typically, in a horror film, horrible and frightening things will happen, but on the margins of civilized society: