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Bildnis einer Trinkerin/Ticket of No Return/Portretul unei bețivane + Superbia – Der Stolz/Superbia – The Pride/Superbia – Mândria + The Making Of ”Superbia”

One World Romania, ediția a 14-a

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Bildnis einer Trinkerin/Ticket of No Return/Portretul unei bețivane + Superbia – Der Stolz/Superbia – The Pride/Superbia – Mândria + The Making Of ”Superbia” One World Romania, ediția a 14-a

Ticket of No Return

Germania de Vest, 1979

107’

Regie, Scenariu, Imagine: Ulrike Ottinger

The second feature of Ulrike Ottinger’s career, “Ticket of No Return,” is as transgressive as it gets. The protagonist, played by Tabea Blumenschein, embarks on a one way trip from Paris to Berlin, where she plunges into the city’s nightlife, encountering, in all sorts of shadowy nightclubs, the legendary Eddie Constantine and Nina Hagen, among others. Along the lines of the famous men in westerns, our heroine doesn’t have a name, nor does she ever speak, although she does interact with various characters, including a homeless woman, whom she turns into her lover. In the same way as the tough guys in film noirs, she’s in love with alcohol, which she consumes without break and in various quantities and circumstances. On the other hand, scene after scene, she appears dressed in the most extravagant and flamboyant gowns possible, never wearing trousers, or other accessories generally associated with masculinity. Her ambivalent attitude, which incorporates elements socially and culturally associated with femininity, as well as with masculinity, or with the past and the present, invites [us] to read the discourse of the film through a feminist and queer lens. Nevertheless, don’t expect a didactic discourse, or one which lacks self-irony. First and foremost, “Ticket of No Return” celebrates going beyond the strict norms of society, and presents the beauty and the grace of those situations in which such attitudes can become embodied. (Andrei Rus) 

Ulrike Ottinger (born in 1942, in Konstanz, Germany) is a visual artist and filmmaker. Ottinger is the founder of the Konstanz Film Club (in 1969) and the ”galeriepress” art gallery. She has also worked as a director for theatre and opera, and as a photographer.

Ulrike Ottinger with Andrei Rus and Vanina Vignal - Paris Calligrammes

Ulrike Ottinger with Andrei Rus and Vanina Vignal - Delphine Seyrig and way of working

Ulrike Ottinger with Andrei Rus and Vanina Vignal - Johanna d'Arc of Mongolia, way of working

Ulrike Ottinger with Andrei Rus and Vanina Vignal - The Berlin Trilogy

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Superbia – The Pride

Germania de Vest, 1986

15’

V.O.: Germană

Regie, Scenariu, Imagine: Ulrike Ottinger

Superbia states "I am pride. The proud root of all evil. I am Superbia, the first of the seven capital sins. I am always the first. The tree of wickedness grows out of me. My six daughters are its forbidden fruit: gluttony, laziness, greed, anger, envy, lust." In this grotesque procession of a giant haystack with characters representing pride, edited with images of real military parades, Ulrike Ottinger depicts a subtle allegory of human vanities. 

We have chosen to present ”Superbia-The Pride” to introduce the meeting with Ulrike Ottinger, as another filmmaker, Anne Faisandier, made a film (which will be screened at OWR this yeas as well) about its shooting and consequently, Ulrike’s creation process. This very short and wonderful film of Ulrike Ottinger stars, among many other actors, her old friend the famous French actress Delphine Seyrig, to whom our festival is paying tribute this year. It was originally part of the ”Seven Women, Seven Sins" omnibus film made with Chantal Akerman, Valie Export, Laurence Gavron, Bette Gordon, Helke Sander and Maxi Cohen, all women filmmakers whose works we intend to present at OWR: last year Chantal Akerman, this year Valie Export and Ulrike Ottinger, and we will surely continue during the next years! (Vanina Vignal)

Ulrike Ottinger with Andrei Rus and Vanina Vignal - Paris Calligrammes

Ulrike Ottinger with Andrei Rus and Vanina Vignal - Delphine Seyrig and way of working

Ulrike Ottinger with Andrei Rus and Vanina Vignal - Johanna d'Arc of Mongolia, way of working

Ulrike Ottinger with Andrei Rus and Vanina Vignal - The Berlin Trilogy

_______________

The Making Of ”Superbia”

Franța, 1986

23’

V.O.: Franceză

Regie: Anne Faisandier

Superbia states "I am pride. The proud root of all evil. I am Superbia, the first of the seven capital sins. I am always the first. The tree of wickedness grows out of me. My six daughters are its forbidden fruit: gluttony, laziness, greed, anger, envy, lust." In this grotesque procession of a giant haystack with characters representing pride, edited with images of real military parades, Ulrike Ottinger depicts a subtle allegory of human vanities. 

We have chosen to present SUPERBIA-THE PRIDE to introduce the meeting with Ulrike Ottinger, as another filmmaker, Anne Faisandier, made a film (which will be screened at OWR this yeas as well) about its shooting and consequently, Ulrike’s creation process. This very short and wonderful film of Ulrike Ottinger stars, among many other actors, her old friend the famous French actress Delphine Seyrig, to whom our festival is paying tribute this year. It was originally part of the ”Seven Women, Seven Sins" omnibus film made with Chantal Akerman, Valie Export, Laurence Gavron, Bette Gordon, Helke Sander and Maxi Cohen, all women filmmakers whose works we intend to present at OWR: last year Chantal Akerman, this year Valie Export and Ulrike Ottinger, and we will surely continue during the next years! (Vanina Vignal)

Anne Faisandier is French filmmaker. A graduate of the National Institute of Popular Education (Institut National d'Education Populaire) and of the University of Paris III - Sorbonne Nouvelle (Film Studies), she also has a diploma in history and geography. Between 1980 and 1987 she taught video classes at the University of Paris III and then Paris VII. During the same period, she coordinated the video section at the Simone de Beauvoir Audiovisual Center (1985-1987). Faisandier has also been involved in the organization of the Cour Denis concerts, documentary screenings, as well as managing a café-cinema. For the past few years she has been living her life as “Madame Camera,” as she likes to say, close to people, listening to them, filming them, and watching them reveal themselves. 

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