Avec sa sympathique roublardise usuelle, l'étonnant et détonant cinéaste viennois nous propose une nouvelle radiographie excavatrice et salutaire de quelques manies et autres démangeaisons voire déviances de quelques spécimens de nos congénères desquels, à bien regarder, nous sommes quelquefois d'une inquiétante proximité... www.cinefiches.com
I didn't find any of this shocking, but then I live in San Francisco. Of course people have sex slaves, shooting ranges and nazi beer-drinking parties in their basements. Unfortunately I don't have a basement in my house, so I must do these things in my living room or backyard.
Clearly, the whole is weaker than the sum of the parts, however, my voyeuristic side was awakened by the intimate little secrets it keeps unveiling, even if a couple of unnecessary scenes are there only with the purpose of shocking the viewers. (3.5 stars)
Not just manipulative but manipulation done lazy. The directors craft is so evident here he undermines his subjects and any real chance for subtext and deeper understanding to shine. The staged static shots are contrived and repetitive and minor characters are relegated to the role of sideshow spectacle. A complete contrast to Paradise Love. 1.5 stars
"Indie" cinema # 8: miserere. Let's look at the sequence of the woman who assumes being S&M: Seidl edits the sequences demonstrative of it (demonstration is the figure of speech more used by these poor cinematic spirits) with her statements on the refusal of domestic violence. This dichotomy arises a veiled ironic judgment at the expense of a figure that its used and abused by a disgusting camera.