In the Basement
8. April 2015

Ulrich Seidl is back.

And when the Austrian provocateur has made a film about cellars and what his countrymen are doing down there, you know that you have to bring your black humour to the cinema.

‘In the Basement’ is not just a film about basement culture. It is a journey into the darkest corners of the subconscious. A world of shotguns, snakes, S&M rituals and Nazi nostalgia. But after the last few years’ bizarre tabloid stories about kidnapped children it should not come as any surprise that the reality of the otherwise so well-groomed Austria sometimes even surpasses one’s wildest imagination.

Nevertheless, Seidl’s return to documentary filmmaking after the successful ‘Paradise’ trilogy is basically a film about people, and about their secrets and obsessions. All of it is given free rein down in the depths of the basements, where the protagonists let us in on the most personal aspects of private life. Seidl has cultivated his unique signature style to perfection in the tightly composed images, which with an almost surreal precision confronts us with the most bizarre aspects of modern life. It is black, but also really funny.

This off-the-wall film essay entertains hugely while it makes the audience squirm in their seats”
Guy Lodge, Variety

Seidl creates a memorable, funny and ultimately chilling document of souls laid bare and skeletons uncloseted”
Mark Wilshin, Dog & Wolf Magazine

Director: Ulrich Seidl
Production: Ulrich Seidl Film Produktion
Country: Austria, 2014
Length: 85 minutes
Language: German
Original title: Im Keller

Om instruktøren(-erne)
Ulrich Seidl (født Austria, 1952)

Ulrich Seidl is an Austrian director behind several award winning documentaries and feature films. His most famous work is the PARADISE-triology about three women chasing love, affection and sex.

According to Seidl himself, he is not a documentarist but a provocateur. Throughout his film career, he has challenged the traditional way of making documentaries and has created his own working methods. His films always balance between reality and fiction, and Seidl himself does not distinguish between the two.

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