Hundstage () cast and crew credits, including actors, actresses, directors, writers and more. Hundstage: Drama von Philippe Bober/Helmut Grasser mit Georg Friedrich/Christian Bakonyi/Gerti Lehner. Jetzt im Kino. Hundstage ist ein Spielfilm des österreichischen Regisseurs Ulrich Seidl. Der Film schildert die tiefen Abgründe in der scheinbar heilen Welt einer Wiener.
Hundstage (2001)Hundstage (). A, FilmIndependent. Sechs fragmentarische Geschichten, lose miteinander verbunden, erzählen in einer Atmosphäre des Alltags von. Es ist Wochenende und extrem heiß. In einer Wohnanlage im Süden Wiens, zwischen Autobahn und Supermarkt, steigt nicht nur die Temperatur, sondern auch die Aggression der Bewohner. Erzählt werden die Geschichten von sechs Menschen - Geschichten aus. Hundstage. Hitzewelle in der Wiener Suburbia. Im Fegefeuer der Vorstadthölle steigt mit der Temperatur auch die Exzessivität der Gefühle. Bewertung.
Hundstage 2001 Filmovi online sa prevodom – Filmotopia VideoSchrijnend en indringend: meegluren met Hundstage (2001)
Redirected from Hundstage. Release date. Running time. Archived at the Wayback Machine old. Films directed by Ulrich Seidl.
Venice Film Festival Grand Jury Prize. Der Freund Claudia Martini Die Ex-Ehefrau Victor Rathbone Der Ex-Ehemann Christian Bakonyi Der Masseur Christine Jirku Die Lehrerin Viktor Hennemann Der Liebhaber Georg Friedrich Der Freund des Liebhabers Ingeborg Wehofer Car accident victim Leopold Schlol Car scratch victim Silvia Piglmann Edit Storyline 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.
Genres: Drama. Edit Did You Know? Trivia Second in the poll for FIPRESCI GRAND PRIX OF THE YEAR Goofs At the beginning of the movie in front of the supermarket the boom mic and the camera are reflected in a car window.
Was this review helpful to you? Yes No Report this. Frequently Asked Questions This FAQ is empty. Add the first question. Edit Details Country: Austria.
Language: German. Filming Locations: Vienna, Austria. Runtime: min. Color: Color. Edit page. Clear your history.
Die Autostopperin. Shocking, yes. To all those reviewers harping on about lack of plot, then surely this is to miss the point.
Seidl draws on his documentary background and indeed blends the this with the fictional elements. Do we really need the narrative signposts that we are force-fed in films.
Life is not that black and white. I cannot understand the constant desire for fast paced cutting. 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.
This is a marvellous film that is disturbing and shocking but not in a gratuitous manner. I think it is in the tiny minutiae of life that these moments are revealed.
I found the moment when the couple visit the grave and when the old woman does the striptease to be very moving.
You need to look underneath the surface of the characters to see what makes them tick and Seidl has done this. As a result we have complex characters that seem too real for some viewers perhaps to stomach.
I should stop defending the film. Just go and see it. Brilliant film-making. Stunning levgan 25 August Being absolutely unfamiliar with Austrian cinema, I've got simply astounded by this movie.
More than two hours long and all the time developing the slow, monotonous rhythm it could have been a real torture for the beholder, but instead it offers something unique and very captivating.
Here are few characters, whose life paths constantly interlock in a little city in tragic coincidences.
The old widower with his dog. The mad hitch-hiking girl, whose hobby is exasperating her companions with useless chatter. The middle-aged couple, whose only daughter had died in an accident some time ago and who hardly speak to each other, despite their living in the same house.
The hysterical guy, torturing his girl, who works in a strip club. The aging woman who gets bullied by her macho-looking hairy boyfriend.
Everyone is unhappy and that's the simple keynote. But almost no one stirs up sympathy. The world is sweaty, dried-up, brutal, senseless. And all the kindness it can provide is epitomized in the final strip-tease that the elderly maid is doing for the old man with the dog.
The dog is certainly already poisoned to that time. The mad girl is raped. The aging woman is humiliated.
The "everything is bad" slogan can seem trite, but the director Ulrich Seidl proves it with cogency. According to what I know it's the first Seidl's feature film, all his previous outings were strictly documentary.
Spreading his meticulous attitude to things on this work, Seidl attains the highest degree of realism, maybe even what we use to call hyper-realism.
This film is great. As often heard, it is indeed very realistic and sometimes brutal, but unlike some other people I am clearly not of the opinion that it is depressing, negativistic or dismantling Austria as a proto-fascist society.
Quite the contrary: While there are indeed some very heavy scenes in HUNDSTAGE and some characters are to be called very bad persons, at the same time you watch love, beauty and humor in Ulrich Seidls film.
And that's exactly what distinguishes HUNDSTAGE for me from other films that try to show the lives of the 'ordinary people' in an intense, realistic way; their hustle, their wishes, their dark sides: Seidl clearly never tries to prove, that the lives of the working-class people are trash!
In my opinion, viewers who come to this conclusion seem to be very afraid of admitting, that nearly nobody's live is as 'clean' and 'normal' as we would like other people to believe.
And that every live has its dark and often depressing sides. The most beautiful scene: The old Viennese man, watching his old girl dancing 'the oriental way', as he is calling it.
Trailers of this movie may show scenes of violence or non mainstream sexuality, but these scenes are just rare fragments, picked out to attract audience.
They are, of course showing the main message of the movie: People who are constantly kicked on their heads in their jobs and lives, using power, which they may have somewhere else, to notoriously oppress others.
And at the low end of the oppression chain, mostly women. A movie showing this as brutally as Hundstage is surely tough to face, but having to endure such lives, is even tougher.
Technically the film is much like Short Cuts, but consisting of documentary style episodes, featuring people like your neighbour, playing just the way they are.
Without any glitter, and most disturbingly, without any hope. Its documentary style makes the movie even more disturbing, because you realize, such people are out there, and there are many of them, although our society focuses on the nice exterior looks.
Somewhere the porn industry has to do its business, somewhere unreported domestic violence has to take place, somewhere hopes have to shatter.
I sure do know such people. If you want to see a movie without any funny scenes some may think the handicapped woman repeating the top ten supermarkets is funny, but this happens for real and without any melodramatic, go watch this movie.
There is something special about the Austrian movies not only by Seidl, but by Spielmann and other directors as well.
This is the piercing sense of reality that never leaves the viewer throughout the movie. Hundstage is no exception. This effect is achieved not only by the depicted stories but also by actors playing.
In Hundstage I have never had the feeling that these are actors playing, but real people instead.
So real is the visceral feeling of the viewer Almost as if the grumpy pensioner or lonely lady in the movie are living below you in your block.
This is further reinforced by the Viennese dialect which is, according to many, especially made for complaining as a way of life.
A special parochialism and arrogance typical for Vienna are also very well portrayed. The Viennese suburbs have a vivid presence in the movie with their stupor and drowsiness where nothing happens.
Moreover, they have been turned into a celebration of materialism with shopping malls and huge department stores.
Inbetween are the houses of the people where they indulge into what they reckon is pleasure-giving activities, trying to stay in touch with their human selves, yet in vain.
The examples are the sexual game of the old lady with the men which bordered on rape, the prolo guy losing his nerves and hitting his girlfriend and the young woman who hitchhikes and irritates her drivers.
Another typical feature of Seidl and other Austrian directors is his showing of disturbingly sexual images.
These include the stripping of the old woman for her husband, the sexual scenes in the bath, the sexual game of the lady with the two men in her apartment, etc.
In Hundstage Seild has portrayed the lives of people who eventually may be as much Viennese as they could be citizens of Paris, New York or Madrid.
The viewers should not despise or feel pity for the Viennese in the movie as they themselves could become victims of the same human estrangement and alienation, albeit in different circumstances.
In the end, I believe Seidl's film is a warning to us about the terrible state of human relationships so brutally revealed in Hundstage.
And if the viewer does not succumb to the reasons for this evil transformation, Seidl has achieved his goal.
Exceptional film. But not for everyone. It is often said that the purpose of all art is to at as a mirror to life in ways that common observation cannot.
In Dog Days, one finds that mirror shedding some brutal, uncompromising and deeply disturbing light on modern day life.
At the core of the film is a deep sense of loneliness. Seen through the lives of its characters, the film begins with an over-possessive boyfriend and his abusive relationship with his girlfriend.
Theodor Schuler. Stephanus Domanig. Eva Gabrovsky. Fritz Noltmann. Wolfgang Thaler. Jerzy Palacz.
Michael Glawogger. Eva Testor. Attila Boa. Marcus Kanter. Hans Raunig. Andrea Wagner. Christof Schertenleib. Andreas Donhauser. Renate Martin. Sabine Volz.
Ulrike Heise. Michaela Oppi. Susanne Neidhardt. Michaela Hofstatter. Nicole Hencsei. Werner Geyer. Fritz Ostermayer. Ekkehart Baumung.
Bernhard Weirather. Out of Silence. Erik Mischijew. Matz Müller. Bernhard Bamberger. Karsten Ray. Carsten Richter. Stefan Liepe.