Ulrike Ottinger x 2
Satirist, feminist, camp icon, documentarian, ethnographer, Berliner, nomad, formalist, anarchist, Ulrike Ottinger is perhaps the most uncompromised and impossible to pin down figure of the New German Cinema, “more radical than Fassbinder, Herzog, all those guys,” per admirer Richard Linklater. A multihyphenate who moves between her filmmaking and photography practices, Ulrike was a lighting rod for controversy from almost the very moment she appeared on the scene, her female pirate film Madame X (1977) in particular attracting censure after being broadcast on German television. Producing her scripts by first working out from both found and manufactured images, Ulrike has produced a body of films which dramatize unexpected intersections and collision, as in that between modernity and tradition in the delirious, Von Sternberg-inspired Johanna d’Arc of Mongolia. Every Ottinger work is a trip past the point of no return into an aesthetic terra incognita, and we invite an intrepid few to travel into this wondrous, perilous cinematic undiscovered country.
Ulrike Ottinger in person