I first saw Markus Schleinzer’s Michael at the Chennai International Film Festival in December 2011. The festival was powered by obscure films from unsung directors and with respect to narrowing down my choices, I certainly had my work cut out. I don’t like going by plotlines. Stories don’t matter to me nearly as much as storytelling and characters do. Critical acclaim was the only deciding factor. But most of these films hadn’t even been released. Michael premiered ‘In Competition’ at the 2011 Cannes Film Festival. I learnt of the premise only after the presenter said “The film is about a paedophile who locks up a kid in his basement.” My hopes were up. I like films that permeate into the dark depths of the human mind. Michael did that and more.
A half-bald man is just getting home from work. The house is a barren place. Empty. Quiet. Lifeless. You hear the sound of things being moved, things being dropped, things being carefully placed. The window blinds fall. He takes the stairs down to the basement and unlocks a heavy metal door. “Come on” he says. A little boy walks out of an unlit room. They share a silent dinner and watch TV hoping to inspire a hint of life into their lives. The boy is urged downstairs, back to the basement. The man follows shortly after and shuts the heavy metal door behind him. The film cuts to a visual of the man washing his genitals. Say Hello to our lead character, Michael (Michael Fuith). And his boy toy, Wolfgang (David Rauchenberger).