Perception_de_Ambiguity More revealing about the human condition than any documentary (including Ulrich Seidl's own, which in comparison seem like they are only scratching on the surface of what it means to get through everyday life as a human being) while being just as real, honest and immediate as a great documentary.Although the film is about female models it's really about average human beings with a lot of spare time to preserve their bodies to be beautiful for the camera and to poison and futch up their bodies again to get their mind into a different state or simply out of laziness on a rotating basis. Average people with a lot of spare time to be alone and lonely and to flee into the beds of lovers and fornicate with strangers while the boyfriend (who usually ISN'T waiting at home) isn't any less guilty of caring only about himself. Average people going through short highs, longer lows and a lot more void times that are somewhere in between (the film focuses more on the highs and lows of its main characters, though)."You don't really know what's going on around you until you look at it from the outside" was never truer than in the case of Ulrich Seidl's films. Through his completely objective camera we have a more insightful look at the characters than the characters themselves. It might seem paradox but although this film again shows that men and women are very different creatures who inherently aren't compatible the female characters in 'Models' are as understandable for men as they are for women. And again it made me think that women are the superior creatures of the two, at least in direct comparison when one man and one women encounter, cope and talk with each other (which describes basically every scene in the film in which a man plays a role) the woman always seems like the more intelligent gender. Maybe it reflects how everything a man really wants is procreation and women have a bit more complex goals like conceiving and raising this offspring. Or maybe it just reflects how little men expect to get from women compared to how much women hope to get from men.Enough with the rambling. I can't help but wonder how Ulrich Seidl writes his films and especially how he works with his non-actors to create such real films. Just as good as 'Hundstage', 1999 won another brilliant movie.

Matthew Janovic Let's be frank: these times are going to be seen as more decadent in-scope than Weimar Germany (1919-1933). I have only recently come to find Ulrich Seidl's documentaries, but this is how it should be done when portraying a society, and her inhabitants. While this documentary is ostensibly about a subculture of models in Austria, it could be about the same kind of people anywhere in the Westernized world. This is a common-theme of Seidl's documentaries, and I believe it isn't always his intention. Like the director, we are seeing these people and their lives for the first-time.The same social-trends and phenomena going-on nearly everywhere in our era, and Seidl is simply capturing them as they are. Of course, all cinema is artifice, but somehow, even in his set-ups, the director is able to capture those amazing moments-of-truth that even escape the participants. What is singularly-depressing and distressing is how much all of this resembles America. Why travel, when everything is a hellish urban-sprawl underlining the meaningless existence of our current human-world? Seidl has an answer: People, and how they deal with this yawning-abyss of modernity offers some hope. Somehow, they survive and continue-on. People are what-matters to Ulrich Seidl.Some reviewers have stated they felt Seidl "hates his subjects," which I find to be patently-false. He shows them unadulterated, and for what they are. His camera's-gaze is--as in all of his films--non-judgmental and authoritative. There has been some controversy over the director's documentaries being "staged," which is unlikely given the obvious sincerity of the models. Somehow, Seidl managed to get his subjects to relax, and to be themselves with no filtering. It's sad that young-women enter this life--if you want to call it that. They mutilate-themselves, starve-themselves, and hate-themselves. Maybe they already did.The final-tableau is an incredible-moment that is undeniable in its truth: the main-model and her boyfriend are having a post-coital conversation (while drinking-in-bed in a Hotel). An ambulance is heard outside, and she says, "They're taking someone like you away," and she laughs. She continues: "You know, I know a good psychoanalyst." The boyfriend responds, "I didn't think people like you could survive without a psychoanalyst." The extended laughing-fit he falls-into is both hilarious, and chilling, as the model seems to slowly sink-into-herself...a powerful-truth has been revealed in the birthplace of analysis. This is the time we live-in. Models is a documentary that delivers on all-fronts, and exposes the Nietzschean-abyss.

Timothy Damon A cinema friend of mine and I were chatting after seeing this film - we'd previously seen ANIMAL LOVE, DOG DAYS and LOSSES TO BE EXPECTED. My friend commented that he got the feeling Seidl didn't like his subjects very much.I guess that MODELS (1999) makes that point better than DOG DAYS (2001) - some of the people in the latter are likeable, and in the earlier 1992 film LOSSES TO BE EXPECTED, quite a few of the people were rather amiable. I don't know what might have happened to Ulrich Seidl from 1992 to 1995 when ANIMAL LOVE came out, but although the characters in MODELS might be complex and perhaps even interesting, they aren't very likeable at all - not that that need to be, and maybe that's part of Seidl's point(s). If the film is "written & directed", it's not really a documentary, is it? It's a little more difficult to tell in MODELS how much of it is real and how much is being torqued up from whatever "reality" there is - and reality is never quite the same for two different people. Is that a point? Dunno. But if Philip K. Dick was still around these two could certainly whip up some interesting dsytopias.

James McNally I saw this film at the 2001 Toronto International Film Festival. Models is a thoroughly unpleasant tale, shot in a documentary style, about coked-up and unhappy models in Vienna. The excruciatingly long scenes alternated between existential longings for love and meaning, whining about physical imperfections, real or imagined, and hedonistic pursuits. It made its points in the first ten minutes, then kept making them over and over and over for the next hundred and ten. Maybe that was the point.