I loved the uncompromising nature of the characters - Kallman who doesn't try to be loveable but remains coarse, rugged and real, Pia - who doesn't become the embodiment of the feminine pastiche but a solid chick who chooses to go home alone, Alex - who waivers between being a funny-man's wingman and victim when his moral woes catch up to him.
Some elusive quality pulled this up from a 3 to a 4 over the course of the film's last 30 minutes, when suddenly it all got kind of brilliant. As if Glawogger's refusal to cater to the desire for moralistic simplification forces the viewer's brain to a broadening of perspective. A sort of objective empathy. The opposite of Von Trier.
Slumming suffers from a bizarre set of conflicting conditions. It offers incredibly rich characters that somehow struggle to overcome the film's insistence on small-scale and understated narration. It is, curiously, at the end of the film where you really begin to understand them and want to see more of their lives as if the entire film is an elaborate prologue to a story we don't get to see.