Gritty, downbeat and cynical, Seidl’s provocative first fiction feature uses the camera like a privacy-intruding one-way mirror as it observes several women and their exploits with cheap modelling, perverted men and toxic relationships.

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Somewhat overshadowed by his more famous compatriot, Michael Haneke, Austrian director Ulrich Seidl is similarly known to be a provocative filmmaker whose films are just as bleak and cynical. 

In Models, his first fiction feature after a series of documentaries, Seidl explores the lives of several women who are models. 

They aren’t celebrities though they wish that they were; instead, they rely on shady contacts for cheap modelling work, earning enough to perhaps have a ladies’ night out with booze and drugs. 

Because of Seidl’s previous documentary work, Models does feel like it might be one, such is its gritty, almost no-frills aesthetics, and an observational camera that follows the characters around. 

“You have to sell your soul to become famous.”

In fact, Seidl uses the camera like a privacy-intruding one-way mirror, as his ‘mirror gaze’ captures these women and their obsession with looking good.  As they undress, put on makeup or even use the toilet, there is no escape from this cold, unrelenting gaze. 

There is no real narrative to speak of but a series of experiences as these women pose for the camera, get pestered by perverted men and get sick (not just medically but of themselves).  Self-pity is the only constant in Models, which runs a tad too long at nearly two hours. (This could easily be an 80 to 90-minute type film.) 

Its downbeat tone means that it is not an enjoyable film to begin with, and it is not exactly the best place to start if you intend to explore Seidl’s body of work. 

Still, there’s raw honesty in its dialogue and performances.  Even though they are naturally attention-seekers, one thing you can’t fault these models is their frankness towards each other—and those that try to take advantage of them. 

Grade: B

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