Men Behind Closed Doors: Stories For Survival

Kurtz Frausun’s Men Behind Closed Doors: Stories For Survival is an unapologetic, hard-hitting and debate-starting documentary that focuses on the under-reported issue of domestic violence against men. Its content and stories are gripping, and whilst Frausun has no qualms about incendiary conclusions, this feature is measured enough to stand up as an important representative work that should not be ignored.

The film is structured around interviews with men who have been the victim of domestic and psychological abuse at the hands of female partners. Most participants, barring Frausen himself, are anonymised. But their stories are so shocking that they will stop audiences in their tracks. Their words are accompanied by illustrative footage as well as statistics that demonstrate the difficulty men face in having their voices heard. Frausun concludes the film with a call to action for men who feel alone to find community with other survivors… with particular condemnation for those who dismiss their experiences.

Men Behind Closed Doors is unflinching, confrontational and powerful; stock words so often associated with documentaries but in this case wholly appropriate. Frausun’s experience, and the experience of his fellow contributors, has clearly painted his worldview – one that is frustrated with how men are treated when seeking help and angry at a system that fails to see him. He is critical of elements of modern feminism, and some viewers will take issue with statements found within the film and may question where such attitudes might lead. But at the same time, the film makes sure to highlight that men are largely the perpetrators of domestic abuse and does not downplay the danger that exists to women, and saves its most biting criticism for those in positions of power who dismiss their lived experiences – rather than lashing out at the world at large. It would be a mistake to draw condemnatory political or social conclusions around the men whose stories are included here – and focus instead on their words which largely come to conclusions that most people can agree on: that ALL victims of domestic abuse deserve to have their voices heard and their wellbeing prioritised.

The film’s power stems from the testimonies of the survivors. Much of the runtime is made up of long stretches where their stories are given room to unfold. Were the subject less urgent or the content of these segments less shocking, this editing style could grow wearisome. But the power these accounts hold, often featuring dreadful incidents of violence, heartbreaking verbal and psychological abuse or Kafka-esque reversals of blame stemming from expectations of men as perpetrators mean viewers will not be able to look away. Such stories may be difficult for some to hear, but those who question whether men can truly be victims in their own home owe these a listen.

Whilst some of its observations are explosive, viewers who engage with Men Behind Closed Doors will find the film to be a pointed, but not totally unbalanced commentary on domestic abuse and gender dynamics that is based on difficult but authentic accounts. That is not to say every word within should be immune to challenge, but Frausun’s case that male victims are largely failed by the system is a convincing one. The more doors that can be opened and debates that can be started by films like this, the better society will get at tackling all issues of domestic violence.