In The Last Real Men, Ulrich Seidl’s camera remains constantly fixed on showing us the protagonists as they recount in turn their experiences. For almost the entire documentary, as often happens in his work, reality is shown to us as it is. And in showing itself as it is, it comes out with all its absurdity and ridiculousness, revealing itself to be much more dangerous than it might initially appear.
The Fox might at first seem to be one of the many (too many?) films that depict a special friendship between humans and animals. And when approaching such stories, the risk of creating something overly rhetorical is higher than ever. Adrian Goiginger, fortunately, has managed to avoid such mistakes, focusing mainly on the childhood traumas of the young protagonist. At the Diagonale’23.
Still Life is by no means a ‘simple’ film. On the contrary, every little facet of the protagonists’ personalities is well rendered by Sebastian Meise’s camera in a never rhetorical or predictable way. The close-ups on their faces, the confessions, the chats in a car or on a station platform, but also the extreme gestures give each of them humanity.
In The Bosom Friend Ulrich Seidl has once again given us a character we will not easily forget. A character who almost seems to belong to a world apart and who – according to some of the director’s own statements – after having renounced all forms of earning a living or social relationships, may also have found freedom in his own way.
In The White Goblin we see an unexpected Vienna. A Vienna that comes to life when everyone is asleep. A sparkling, opulent Vienna, but also the realm of the underworld, where money seems to play the leading role even – and above all – when the love of art and beauty should have the upper hand. At the Diagonale’22.
Divided into three episodes, Antares is a complex and layered fresco of contemporary society. Three stories, three different lifestyles, one setting. Antares does not only tell us about impossible loves, desperate loves, tormented loves and secret love affairs. Antares stages Love as utopia, a constant, desperate need for love that often also leads to a deep sense of loneliness.