Long a profiler of the dark side of Austrian society, Ulrich Seidl follows up his "Paradise" trilogy (PARADISE: LOVE,PARADISE: FAITH, and PARADISE: HOPE) with a seriocomic documentary about what middle-class Austrians do in their basements, or IM KELLER (which are usually dens or rumpus rooms rather than dank storage spaces). An opera enthusiast leads an anti-Muslim hate group and conducts target practice and maneuvers in his basement shooting gallery in his basement. A middle-aged woman whose husband either died or walked out on her after she lost her child communes with a collection of lifelike baby dolls stashed in storage. A geriatric brass band shares an admiration for the Nazis, their leader keeps in his basement a museum dedicated to the Third Reich, and they make a yearly pilgrimage to Der Fuhrer's headquarters. A woman's hirsute male sex slave cleans the entire house (and other things) with his tongue before they retreat to the basement "red room" for his reward. A man who has learned everything he knows about sex "pleases" women in his basement dungeon, and an extreme masochist finds isolation in a cell within a cell. More humorous than shocking - even as it exposes extreme racism, intolerance, and ignorance that is becoming harder to conceal in modern first world nations - IN THE BASEMENT ends up feeling like someone else's parody of an Ulrich Seidl film or the director parodying himself even though this does not appear to be the case.