The films of Ulrich Seidl – including the latest, Paradise: Love – show human behaviour in unsparing and explicit close-up. The aim, he says, is for the viewers to see themselves
Any old auteur can knock out a trilogy but it takes a special kind of genius to make one by accident. This is the position in which the 60-year-old Austrian filmmaker Ulrich Seidl finds himself. He receives me on a rainy afternoon in the Vienna office of his production company. Finger snacks of psychedelic hues (bright purple cabbage, unidentified pistachio-green paste) are spread out before us. A chintzy lamp dangling above us melts the food until the toppings start creeping off the bread; a signed portrait of Erich Von Stroheim looks on magisterially from the wall. Seidl himself is dressed head to toe in black: black waistcoat over a black shirt, black trousers, black shoes. His spiky-fluffy brown hair and bristly beard are speckled with silver.
Any old auteur can knock out a trilogy but it takes a special kind of genius to make one by accident. This is the position in which the 60-year-old Austrian filmmaker Ulrich Seidl finds himself. He receives me on a rainy afternoon in the Vienna office of his production company. Finger snacks of psychedelic hues (bright purple cabbage, unidentified pistachio-green paste) are spread out before us. A chintzy lamp dangling above us melts the food until the toppings start creeping off the bread; a signed portrait of Erich Von Stroheim looks on magisterially from the wall. Seidl himself is dressed head to toe in black: black waistcoat over a black shirt, black trousers, black shoes. His spiky-fluffy brown hair and bristly beard are speckled with silver.
- 6/13/2013
- by Ryan Gilbey
- The Guardian - Film News
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