Else Nabu
2021
Linie 1
Reinhard Hauff
Inka Victoria Groetschel, Dieter Landuris
Film version of the musical by the same name: Sunnie, a girl from the province, comes to Berlin to meet rock star Johnnie who had given her his address after a concert. On the subway to Kreuzberg, Sunnie becomes acquainted with a couple of strange people, among them "asphalt cowboy" Bambi. Bambi tells Sunnie that Johnnie’s address in Kreuzberg does not exist. Together, Sunnie and Bambi try to find the rock star in bustling metropolitan Berlin.
Linie 1
Dorian Gray im Spiegel der Boulevardpresse
Ulrike Ottinger
Veruschka von Lehndorff, Delphine Seyrig
Our organization will create a human being whom we can shape and manipulate according to our needs. Dorian Gray: young, rich and handsome. We will make him, seduce him and break him. Ulrike Ottinger, 1984
Dorian Gray in the Mirror of the Yellow Press
Freak Orlando
Ulrike Ottinger
Delphine Seyrig, Magdalena Montezuma
FREAK ORLANDO is divided into five more-or-less distinct sections, all featuring "Freak" Orlando, a woman, played by the late Magdalena Montezuma, who appears in various guises, and deformities, throughout.
Freak Orlando
Seven Women, Seven Sins
Chantal Akerman, Maxi Cohen
Luis Guzmán, Michael Dick
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Seven Women, Seven Sins
Superbia - Der Stolz
Ulrike Ottinger
Delphine Seyrig, Irm Hermann
Pride is the first of the seven deadly sins. The introduction is made through early allegorical forms and figures (triumphal procession, dance of death, Baroque tragedy etc.) The triumphal procession of the giant haystack as a symbol of human vanities becomes a military parade of abrupt, functional and arrogant gestures. The most diverse musical fragments and rhythms intone the montage of details in the staged triumphal procession, juxtaposed with documentary images, including marches, ticker-tape parades and military review.
Superbia – The Pride
