Day & Night 2010

In the opening scenes of this thought-provoking film, we meet Lea, played by Anna Rot, and Hanna, portrayed by Magdalena Kronschläger. Both young women are from rural areas and find themselves navigating life in Vienna for the first time. They are largely survivalists, juggling temporary jobs in the catering industry to make ends meet. When their finances become strained, they contemplate a daring alternative: working for an escort agency operated by Mario and his wife, Sissi. The agency is small, informal, and run with a familiar, almost casual tone.

Sissi provides Lea with practical advice on how to succeed in the pay sex industry, emphasizing the importance of making clients feel special. She advises: “You have to give the customer the feeling that he is something special. If you can do that, you are something special for him, understand?” She also stresses the significance of sensory details, telling Lea: “Perfume and body lotion must be from the same brand. A smell, a story, remember that. More confuses the men.” The film underscores the importance of immediate financial security, with the rule to collect cash upfront being a fundamental principle of the operation.

The narrative depicts the everyday realities of the escort work — encounters that range from the mundane to the bizarre, painted with a tone that mixes humor and subtle critique. The clients include an older man wearing women’s underwear beneath his clothes, a young manager seeking excitement in the elevator, a family man sneaking away from his loved ones, and a dependent youth with a troubled background. At first glance, these encounters seem ordinary, almost banal, and give the impression that pay sex is just another job, bringing moments of fleeting joy amid the suffering.

The film delves deeper as the two worlds—their studies, private lives, and work—become increasingly intertwined and blurred. Lea, who aspires to become an actress, faces disappointment when she fails her entrance exam to the drama school. Meanwhile, her encounters with clients grow more intense, forcing her to confront her own boundaries. Simultaneously, Hanna, an art history student, befriends Harald, played by Adrian Topol, whom she meets at university. Hanna keeps her part-time job secret from Harald, adding to the tension between her private life and her work.

As their experiences unfold, the boundaries between their worlds become less clear. Encounters that initially seem lighthearted and casual gradually reveal deeper complexities. A pivotal moment occurs when Hanna and Harald meet again — this time in the context of a client date arranged by the agency. This encounter, along with a meeting involving a businessman that spirals from a friendly chat into a disturbing boundary crossing, forces both women to reassess their choices.

A poignant turning point comes as Lea attempts to leave her job, feeling disillusioned and overwhelmed, and returns to her rural roots. Meanwhile, Hanna decides to continue her work, adopting the alias Lea as a new identity. The friendship between them is forever changed, illustrating the irreversible impact of their choices.

Throughout the film, themes of identity, boundaries, and the struggle between personal aspirations and societal expectations are explored with nuance and subtlety. It remains a compelling reflection on the complexities of modern life, the search for fulfillment, and the often unseen costs of survival in a rapidly changing world.