Watch options. Storyline Edit. 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. Did you know Edit. Goofs At the beginning of the movie in front of the supermarket the boom mic and the camera are reflected in a car window.
Connections Follows Fun Without Limits User reviews 44 Review. Top review. Not for anyone. This film show peoples in the middle of the hottest 2 days in Austria. It shows people humiliating other peoples and being cruel to other peoples. It show the inability of people to communicate or talk with others. In the screening I have attended people were leaving in the middle because they could no longer watch the film. And rightly so. Because the film is not and easy one to watch.
It has a very depressing message and there isn't any moment of mercy in the film. It is a very cruel movie, not for everyone's taste. You can not speak of terms of enjoyment from this film. It grips you in your throat and never let go and in the end you simply feels breathless because of its intensity. I can not "recommend" or "not recommend" this film. You should make your own mind based on what I have said earlier.
Just be aware that this is not a regular film and it is not for everyone's taste. Details Edit. Release date November 9, Italy. Dog Days. Vienna, Austria. Box office Edit. Technical specs Edit. Runtime 2 hours 1 minute. Related news. He attacks another youth for the same reason, then persecutes the silent Klaudia with his reckless driving and manic ranting. Non-communication, aggression and vindictiveness seem the norm, cars the affectless passion of the suburban soul-dead.
Mr Walter carefully tends the flowers in his garden; when he gets no response to his remonstrations with the neighbours bickering behind the fence, he starts up his noisy lawnmower and leaves it running, pulling down the roller shutter on his door. Theodorakis similarly pulls down a roller shutter on his estranged wife as she lies sunbathing. The couple move around their home - all hard, tiled surfaces and comfortless hallways - ignoring each other.
Seidl undermines with nasty thoroughness the suburban values of privacy and security that lurk behind these shutters. The obese, sweating salesman Hruby, the nearest the film has to a bridging character, walks from house to house, hopelessly pitching his security systems, pointing out to Mr Walter, who already has a CCTV monitor on his desk, that his elderly dog, far from being a deterrent, will itself need protecting.
In the context of extreme arthouse cinema, we know he's right. Theodorakis lets Hruby inside, and he marches around the rooms, his professional bustle failing to mask his intrusiveness.
It's Seidl's camera, though, that feels like the real interloper. It noses in on characters in moments of isolation, their dwellings like Big Brother houses in which the inhabitants - not young exhibitionists but damaged figures at various stages in a life cycle indelibly imprinted on their ruthlessly exposed flesh - are minutely observed.
Christine Jirku as the middle-aged teacher, for instance, is shown in her underwear, wiping grease from a chicken leg from her chest, trimming her pubic hair, her haggard but compelling face an image of lifelessness - like someone filmed unawares rather than an actor performing being alone.
For stretches each of the characters is shot in this way, heightening the cruelty of their later interactions. Seidl's controversial documentaries about coke-addicted models, Austrian men buying Thai brides or people's relationships with their pets which guyed audiences' expectations of onscreen bestiality pre-empted the current reality-TV explosion, with its disregard for public-private boundaries.
Dog Days ' quest for authenticity in a thoroughly commodified world, which raises voyeurism to possibly profound, certainly profoundly unsettling levels, finds its sacrificial lamb in Anna, the mentally challenged hitchhiker.
Comedy and tragedy are inseparable up to the point when Hruby offers her to his clients for physical abuse as a scapegoat, having been charged with finding the vandal who has been scratching their cars.
Anna is accorded the film's final shot, where she dances in the dark, causing the security lights to blink on and off. The downpour seems to usher in the possibility of redemption for Mr Walter, who dresses his willing housekeeper in his dead wife's clothes to do a striptease for him, and for the grieving couple, who sit together silently on swings in the rain.
The scenes featuring Theodorakis simmering alone, frustratedly slamming a tennis ball against the side of his drained swimming pool in another image of stark beauty, while his ex-wife seduces a masseur, had seemed to present their grief as a part explanation for the film's ubiquitous non-communication. But in both cases Seidl prefers our moral queasiness to our empathy - the wife is introduced with a hardcore establishing shot of her having troilistic sex during an orgy in a sex club, while we watch Mr Walter's elderly housekeeper's striptease in full from his static POV.
But the film's most difficult scenes involve the extended humiliation suffered by the teacher at the hands of her slobbish lover Wickerl played with apparent drunken abandon by real-life Austrian sex-club owning pornographer Victor Hennemann and his manic buddy Lucky, as a prelude to a boozy debauch during which they sexually abuse her and make her sing 'La Cucaracha'.
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