Documentary filmmakers are often accused of exploiting individuals unused to being filmed; for Models, however, Seidl uses subjects who spend their careers as photographed objects, and in the process further blurs the line between observation and exploitation. Not-so-super models Tanya, Vivian, and Lisa blend together, with their lipstick, hair dye, breast implants, and heartfelt confessions to bathroom mirrors (and/or the cameras planted inside them). Their habitats - nightclubs, fashion shoots, tanning beds, bathrooms - are recorded by Seidl with a merciless monotony, while their actions - dancing, posing, puking, snorting cocaine off toilet lids - are filmed with an antiseptic detachment by turns disturbing and amusing. By the end, the poses are stripped away, leaving something all too human in their place. An appearance by infamous photographer Peter Baumann certainly shows who truly greases these wheels of sleaze, and also highlights Seidl's intriguing dynamic: the exploitation of those in front of the camera, and the questionable motives of those behind it.