– Reflections on Seidl and the Essence of Documentary versus Fiction Film –
It’s hard not to commend director Ulrich Seidl for his provocative work.
In Germany, it’s often said that Austrians produce both better and more eccentric films and filmmakers. Many would certainly consider Seidl to be a prime example of this sentiment.
Regardless of one’s perspective, Seidl has undeniably highlighted that the distinction between documentary and fiction film is more relative than absolute. Both belong to the same artistic realm, merely representing different genres.
In discussions about films like “Leviathan,” which examine political economy, Seidl can also provide valuable insights into the ongoing debates surrounding the authenticity of film, images, and reality in the age of AI.
His work illustrates that questions about veracity have existed long before the advent of artificial intelligence; they are intrinsic to the very nature of film and photography since their inception in the 19th century.
Seidl, a graduate of prestigious Austrian film institutions in both journalism and film, began his career in documentary filmmaking with Austrian State Television. Over the years, he has become increasingly radical, challenging and redefining the conventional boundaries of documentary filmmaking.
One notable film where he skillfully merges form and content is “MODELS” (1999), which follows three Viennese models striving for success in the competitive fashion industry. The subjects play themselves while collaboratively crafting the narrative with Seidl, creating caricatures that reflect the inherently exaggerated nature of the fashion world.
In a parallel vein, “IMPORT/EXPORT” features notable cinematography from legendary American cameraman Ed Lachman and Seidl’s regular collaborator, Wolfgang Thaler.
For those seeking a more traditional narrative, consider “GOOD NEWS,” a film centered on immigrants selling newspapers, which is now 35 years old.
Discover more about this film here:
https://de.wikipedia.org/wiki/Good_News_(1990)
Watch brief excerpts here:
https://www.youtube.com/watch?v=zoEIkN_zMTw
“IMPORT/EXPORT” is also a testament to the collaboration between Seidl and his wife, the renowned producer Veronika Franz.
The idea of staging and meticulously orchestrating mise-en-scène within documentaries—creating the illusion of fiction—has deep roots in the medium. This approach dates back to leftist Dutch filmmaker Joris Ivens during the interwar years, where documentaries were clearly labeled yet produced with techniques typical of fictional films, given the logistical challenges of on-location shooting at the time.
This methodology was executed even more radically by American pioneer Robert Flaherty, as well as Soviet filmmakers Dziga Vertov and Sergei Eisenstein.
Flaherty lived among his subjects, immersing himself in their lives, similar to Seidl (e.g., in “MAN OF ARAN” from 1934). While Flaherty is often regarded as an early ethnographic filmmaker, his style may not be as transparent as that of French filmmaker Jean Rouch, who is often associated with this form.
In many ways, Seidl himself embodies a form of domestic ethnographic filmmaking.
He frequently tells aspiring filmmakers that he spends extensive time with individuals who society often overlooks, immersing himself in environments typically avoided by mainstream filmmakers. This practice has undeniably shaped his distinctive style and reputation today. Many in current discourse might label it as “hybrid,” a term I would reject.
Seidl is not alone in employing this technique; however, his shift into fiction film has garnered a broader audience, branding him as a prominent figure. Conversely, traditional documentaries tend to remain on the margins of the film industry.
A historical example of this blurred line is Eisenstein’s film “October,” released in 1928. Today, its classification as documentary or fiction remains ambiguous, despite its grand spectacle.
Watch in excellent 4K with English subtitles (featuring Shostakovich’s score):
100 minutes
https://www.youtube.com/watch?v=V-baFaZQaDA
Many scenes, especially those depicting political events, were staged, often with actors portraying politicians. Modern audiences might easily mistake such intricate staging for genuine news footage, drawing a subconscious connection to Seidl.
Italian filmmaker Luchino Visconti also traversed a similar path with “LA TERRA TREMA” (1948), which chronicles the lives of Sicilian fishermen. Visconti lived within the fishing community for an extended period, collaborating closely with the villagers.
Lastly, Robert Kramer’s “ROUTE ONE” (1989) offers an intriguing example. Kramer hired an actor to portray a fictional character interacting with real situations, mirroring elements found in Seidl’s work. This method can be seen as a precursor to later films like “BORAT,” which approached the concept in a more humorous, albeit cruder manner.
While “IMPORT/EXPORT” may not be categorized as a “fun” film, I highly encourage everyone to watch it, alongside the accompanying interview with Seidl linked above. It may serve as a compelling entry point for many. Ultimately, engaging seriously with film can provide insights akin to those found in discussions surrounding economic crises, literature, or opinion pieces.
