Paradise: Love is the first and best installment of the Paradise trilogy directed by Austrian filmmaker Ulrich Seidl. The other two parts of the trilogy, Paradise: Faith and Paradise: Hope, were released in 2012 and 2013, respectively. All three films focus on female characters who are connected by familial relationships—for instance, the protagonist of the final film, Paradise: Hope, is the daughter of the main character in Paradise: Love.
In this trilogy, and especially in the first part, the filmmaker offers a precise yet deeply emotional depiction of the loneliness and disorientation of modern humans in today's society. In Love, we follow a middle-aged woman who travels to Kenya a week before her birthday. Throughout the film, we witness her childlike, desperate attempts to find a shred of affection as she wanders around a foreign country with a mix of cruelty and naivety.
Conceptually and aesthetically, this film shares much in common with the portraits painted by Lucian Freud. The late artist once said of his paintings: "I paint people not to show what they look like but to reveal how they exist." Perhaps we should delve deeper into the connection between Freud's paintings, which highlight the isolation of unbalanced, fragmented bodies, and Paradise: Love. How does modern human existence manifest today? When Freud's paintings come to life, the result is a film that conveys the same message in a remote atmosphere, set in the heart of an unfamiliar Kenya, directly impacting the minds and hearts of its audience.
One prominent feature of contemporary Austrian cinema is its unflinching view of human nature. Seidl's films are no exception, but unlike the biting critiques of his compatriot Michael Haneke, Seidl uses a more approachable method. His criticism feels more like a heartfelt conversation, making it easier for viewers to connect with his work.
In interior shots, the camera pays close attention to architectural spaces, offering vivid and striking visuals that enhance the viewer's experience. The filmmaker uses this technique to showcase his interest in realistic spaces, from the suffocating kitchens of Europe to the hotel bathrooms in Kenya. Since most of the film's early scenes are shot with a fixed camera, viewers become visually accustomed to this style. However, when the perspective shifts to handheld shots, they are suddenly thrust into the protagonist's unsettled, lonely experience in an unfamiliar Kenya. This shift mirrors her confusion and disorientation, compelling viewers to observe their surroundings with heightened awareness.
The film's breathtaking visual compositions of Kenya transform the country into a dreamlike paradise, even though it is one of the world's most economically, medically, and educationally disadvantaged regions. This surreal beauty contrasts sharply with the bitter ethical and human issues that Kenya faces in reality. Yet, through this approach, the director softens the harshness of these truths, allowing even the most sensitive and impatient viewers to connect with the film and enjoy it.
Seidl's neutral storytelling allows viewers to step into the characters' shoes and interpret the moral implications from their own perspectives. This is one of the most remarkable aspects of his direction—telling a moral story without becoming entangled in morality itself, which significantly enhances the film's narrative power. Humans exploit one another, but identifying the true victim and determining the ethical perspective from which to view this is left entirely to the audience.
As a filmmaker, Seidl consistently uses reality as his main inspiration. He incorporates the ordinary into his work, treating everyday life as a crucial part of his films, much like in his previous works. From bustling streets to ceiling fans and curtains, his camera captures it all. His use of non-professional actors, often individuals with real-life experiences similar to their characters, transforms his films into a fusion of reality and fiction. These actors appear to be reliving their lives, this time for the memory of an unfamiliar, primarily European audience.
As a result, Seidl's films often resemble documentaries, which is unsurprising given his background in documentary filmmaking. His films lack scripted dialogue, allowing non-professional actors to speak in their own voices based on the situation and their lived experiences. Throughout the film, viewers frequently question what is real and what is imagined—a line they can never truly distinguish, as many elements of the film are undeniably authentic.
These elements combine to create the impression of a semi-documentary work—a story that has been told countless times but is presented anew with refined taste, leaving a lasting impact and provoking thought.
The director's source of inspiration remains constant: reality. By focusing on the European middle class—a largely overlooked segment that constitutes a significant portion of the continent's population—Seidl conveys his historical pessimism toward humanity, particularly his native Austria. Through his portrayal of contemporary society and its moral shortcomings, Seidl seeks to jolt viewers into reflection, using truths that everyone knows but few are willing to confront.
In conclusion, Paradise: Love is a well-crafted film that subtly critiques human and ethical themes without falling into the trap of didacticism or clumsy moralizing. It captivates the viewer, keeping them engaged until the very last moment.
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