Hundstage (). ()2 Std. 1 Min Wochenende. Zeit der Hundstage. Es ist drÌ_ckend heiÌÙ, sÌ_dlich von Wien, im Niemandsland zwischen. Hundstage () cast and crew credits, including actors, actresses, directors, writers and more. Komplette Handlung und Informationen zu Hundstage. Wochenende. Zeit der Hundstage. Es ist drückend heiß, südlich von Wien, im Niemandsland zwischen.
Hundstage 2001 Hundstage (2001)
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 ist ein Spielfilm des österreichischen Regisseurs Ulrich Seidl. Der Film schildert die tiefen Abgründe in der scheinbar heilen Welt einer Wiener. Hundstage (). ()2 Std. 1 Min Wochenende. Zeit der Hundstage. Es ist drÌ_ckend heiÌÙ, sÌ_dlich von Wien, im Niemandsland zwischen. Hundstage. Hitzewelle in der Wiener Suburbia. Im Fegefeuer der Vorstadthölle steigt mit der Temperatur auch die Exzessivität der Gefühle. Bewertung. Komplette Handlung und Informationen zu Hundstage. Wochenende. Zeit der Hundstage. Es ist drückend heiß, südlich von Wien, im Niemandsland zwischen. Directed by Ulrich Seidl. With Maria Hofstätter, Christine Jirku, Viktor Hennemann, Georg Friedrich. In the tomb-like quiet of their ranch-style purgatory. Hundstage () cast and crew credits, including actors, actresses, directors, writers and more.
Hundstage. Hitzewelle in der Wiener Suburbia. Im Fegefeuer der Vorstadthölle steigt mit der Temperatur auch die Exzessivität der Gefühle. Bewertung. Hundstage (). - | Österreich | Minuten. Regie: Ulrich Seidl. Kommentieren. Teilen. Ein heißes Wochenende im Wiener Süden: Vier Paare leiden. 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. Just go and see it. Marcus Davy. Requiem for a Netflix Chicago Fire. Zwischendurch nervt ihn telefonisch seine Frau, die alkoholabhängig zu sein scheint. Seidl macht vor nichts halt, hält auch dann noch mit der Kamera drauf, wenn andere vor Schamgefühl oder lauter Peinlichkeit längst ausgeblendet hätten. R 2h 1min Drama 25 September France. I, myself, can't say I had a lot of fun War Dogs Stream German Hd it. See the full gallery. Language: German. Share this page:. External Reviews. Ulrich Seidl, Inception übersetzung in Wien, gilt als " Extrem-Regisseur " und " Enfant terrible des österreichischen Kinos ", aber auch als differenzierter und sensibler Beobachter menschlicher Schicksale. R 2h 1min Drama 25 Vergib Mir France. Finally, even German speakers Lauren Lee Smith have problems with the thick Austrian accents in here, even if I found most of it was not too difficult to understand. Full Cast Harald Pignatelli Crew. The opening Zwischen Welten of the film quickly set the Black Cover Bs for the rest of the film. Life isn't so bright though Austria is one of the richest countries in Hundstage 2001 world. I hated it but I felt compelled to see it through.
Ulrich Seidl, geboren in Wien, gilt als " Extrem-Regisseur " und " Enfant terrible des österreichischen Kinos ", aber auch als differenzierter und sensibler Beobachter menschlicher Schicksale.
Werner Herzog named Ulrich Seidl one of his 10 favorite filmmakers and said: www. Vous souhaitez traduire une phrase? Utilisez notre outil de traduction de texte!
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Dictionnaires croate. Dictionnaires danois. Dictionnaires elfique. Dictionnaires espagnol. A security salesman desperately tries to find the culprit behind some vandalism on a work site but ends up picking on an innocent scapegoat.
And a mentally ill woman keeps hitching rides with strangers and insulting them until they throw her out of the car!
The lives of these disparate characters converge over several days during an intense summer heat wave. The despair in the film is palpable. Many scenes are characterised by long, awkward silences that are twice as effective as a whole passage of dialogue might be.
Then there are other scenes during which the dialogue and on-screen events leave you reeling. In particular, a scene during which the security salesman leaves the female hitch-hiker to the mercy of a vengeful guy - to be beaten, raped and humiliated thankfully all off-screen for some vandalism she didn't even do - arouses a sour, almost angry taste.
In another scene a man has a lit candle wedged in his rear-end and is forced to sing the national anthem at gunpoint, all as part of his punishment for being nasty to his wife.
While we might want to cheer that this thug is receiving his come-uppance, we are simultaneously left appalled and unnerved by the nature of his punishment.
Indeed, such stark contrasts could act as a summary of the whole film - every moment of light-heartedness is counter-balanced with a moment of coldness.
Every shred of hope is countered with a sense of despair. For every character you could like or feel sympathy for, there is another that encourages nothing but anger and hate.
We might want to turn away from Hundstage, to dismiss it as an exercise in misery, but it also points up some uncomfortable truths and for that it should be applauded.
Was this review helpful? Sign in to vote. 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. This film has got to be ranked as one of the most disturbing and arresting films in years.
I saw echoes in the film from filmmakers like Pasolini, Fassbinder and others. I had to ask myself, what was it about the film that made me feel like I did?
I think the answer would be that I was watching a horror film, but one that defies or even reverses the conventions of said genre.
Typically, in a horror film, horrible and frightening things will happen, but on the margins of civilized society: abandoned houses, deserted hotels, castles, churchyards, morgues etc.
This handling of the subject in horror is, I think, a sort of defence mechanism, a principle of darkness and opacity functioning as a sort of projective space for the desires and fears of the viewer.
But what you see is the displacement of certain key thematics from the horror genre, especially concerning the body and its violation, the stages of fright and torture it can be put through.
What Seidl does is to use the settings of an everyday, middle class society as a stage on which is relayed a repetitious play of sexual aggression, loneliness, lack and violation of intimacy and integrity: precisely the themes you would find in horror, but subjected to a principle of light and transparency from which there is no escape.
Hundstage deals with these matters as a function of the everyday, displays them in quotidian repetition, rather than as sites of extremity and catharsis - a move you would encounter in said horror genre.
One important point of reference here is Rainer Werner Fassbinder. Fassbinder also had a way of blending the political with the personal in his films, a tactics of the melodrama that allowed him to deal in a serious and even moral way with political issues like racism, domination, desire, questions concerning ownership, sexual property and control, fascism and capitalism etc.
During a seminar at the Gothenburg Film Festival this year, at which Seidl was a guest, he was asked why he would have so many instances of violated, subjugated women in Hundstage, but no instances of a woman fighting back, liberating herself.
Seidl replied that some may view it as immoral to show violence against women, but that he himself felt it would be immoral not to show it.
An artistic statement as good as any, I think. Thank you. A bleak and at time funny reality ellkew 28 November An outstanding film by all accounts.
Bleak, yes. Funny, yes. 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.
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.
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.
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.
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.
The opening scenes of the film quickly set the tone for the rest of the film. The brawl in the strip-club and the highly disturbing scene of physical abuse in the car leave you in no doubt that this not a film will be apologetic or polite.
The rest of the film does not disappoint on this count. There is the old widower whose only companion, his pet dog, is poisoned. The mentally unbalanced hitchhiker who meets with some rather tragic consequences.
The security equipment salesman who spends endless hours trying to sell his wares, with little success. The estranged couple that lives under the same roof, mourning the death of their little daughter but refusing to speak with each other.
And finally, and possibly the most unhinging of all, the aging woman and her inexplicable love for her sadistic, violent and abusive man.
The film offers little in terms of relief from the dark and disturbing lives of its characters. Often described as highly pessimistic, the film chooses to focus on the extremities to make a larger point about the isolation of modern urban life and the redemption we seek from it.
And while I did not think this was a bad movie, I must say that I prefer his more recent works, especially his "Paradise" trilogy which is quite a thing of beauty.
Seidl's approach, however, is certainly visible in here too. His films always have a dark and slightly depressing take on love and especially sexuality.
You should also not be surprised to see graphic nudity in here, but I think it was working in the context as it simply belonged to the story.
It is basically the "Paradise" trilogy packed in one movie as we follow the fates and sexual identities of a whole bunch of people that have very loose connections to each other.
Nonetheless I have to say that I was not too well entertained while watching this film. It could have been shorter I think and still would not have lost and of its substantial message, but this way it felt a bit overblown.
And occasionally I also felt that the stories were just written in a way to be as controversial as possible and not really as means of telling a great movie.
The actors still do a good job, especially Maria Hofstätter once again. Finally, even German speakers may have problems with the thick Austrian accents in here, even if I found most of it was not too difficult to understand.
So just in case make sure you have subtitles. Overall, I was slightly underwhelmed by this film. Seidl has done better on several occasions. This austrian film is rather slow-paced and deals with everyday life's madness.
A collection of 6 parallel "stories" - more like incidents from the most miserable people'e everyday life. It deeply reminded me of Michael Haneke's "71 Fragments of a Chronology of Chance" , only this one is much more solid, more interesting and much more depressing.Die Dokumentarfilme des Österreichers Ulrich Seidl sind meistens preisgekrönt und selten was für schwache Nerven. Zwischendurch nervt ihn telefonisch seine Frau, Priscilla Barnes alkoholabhängig zu sein scheint. Doch sein Geschäft läuft nicht gut. Listen mit Hundstage. Vorgetragen werden diese Charts von besagter Anhalterin, die von der jährigen Schauspielerin Maria Hofstätter auf geradezu enervierende Art und Weise porträtiert wird. Sie wird in ein Zimmer im Keller eingesperrt, How To Be Single Stream Kinox aufgebrachten Anwohner mit den zerkratzten Autos informiert, und einer nach dem anderen lässt seine 8 Blickwinkel an der unschuldigen Anna aus. Hundstage: Drama von Philippe Bober/Helmut Grasser mit Georg Friedrich/Christian Bakonyi/Gerti Lehner. Jetzt im Kino. Hundstage (). A, FilmIndependent. Sechs fragmentarische Geschichten, lose miteinander verbunden, erzählen in einer Atmosphäre des Alltags von. Zeit der Hundstage. Es ist drückend heiß, südlich von Wien, im Niemandsland zwischen Autobahnzubringern, Einkaufsmärkten und Einfamilienhaussiedlungen. Hundstage (). - | Österreich | Minuten. Regie: Ulrich Seidl. Kommentieren. Teilen. Ein heißes Wochenende im Wiener Süden: Vier Paare leiden.