The Beautiful Woman Sleeping
Director: Ulrike Ottinger
Writers: Ulrike Ottinger, Elfriede Jelinek
It is with great pleasure we feature the announced plans for a new film from German auteur Ulrike Ottinger, a provocative artist perhaps best remembered for 1981’s Freak Orlando, starring Magdalena Montezuma and Delphine Seyrig, an exemplification of her own surrealist style. Ottinger is also an applauded documentarian, her last project being 2011’s Under Snow. But it’s been well over a decade since we’ve seen Ottinger tackle a fictional narrative, the last being 2004’s Twelve Chairs. Around 2007/2008, an announcement was made for Ottinger to make a feminist vampire film about the infamous historical figure Countess Bathory, set to star Tilda Swinton and Isabelle Huppert. The project never got off the ground (and Julie Delpy went ahead with her own recuperation, The Countess). However, in early 2015, Amour Fou Films announced two projects with writer Elfriede Jelinek (author...
Director: Ulrike Ottinger
Writers: Ulrike Ottinger, Elfriede Jelinek
It is with great pleasure we feature the announced plans for a new film from German auteur Ulrike Ottinger, a provocative artist perhaps best remembered for 1981’s Freak Orlando, starring Magdalena Montezuma and Delphine Seyrig, an exemplification of her own surrealist style. Ottinger is also an applauded documentarian, her last project being 2011’s Under Snow. But it’s been well over a decade since we’ve seen Ottinger tackle a fictional narrative, the last being 2004’s Twelve Chairs. Around 2007/2008, an announcement was made for Ottinger to make a feminist vampire film about the infamous historical figure Countess Bathory, set to star Tilda Swinton and Isabelle Huppert. The project never got off the ground (and Julie Delpy went ahead with her own recuperation, The Countess). However, in early 2015, Amour Fou Films announced two projects with writer Elfriede Jelinek (author...
- 1/15/2016
- by Nicholas Bell
- IONCINEMA.com
Flamboyant cult German director, belatedly appreciated
After a long, fallow period in German cinema, there emerged, in the late 1960s, a new wave of directors, including Werner Schroeter, who has died of cancer, aged 65. What separated Schroeter from most of his contemporaries, such as Rainer Werner Fassbinder, Wim Wenders and Werner Herzog, was his almost complete rejection of realism, social and political, and his espousal of high camp.
Schroeter lived by Oscar Wilde's dictum: "Moderation is a fatal thing. Nothing succeeds like excess." His mixture of flamboyant, gender-bending minimalism and stylised melodrama, inspired by 19th-century Italian bel canto opera and the music of German romanticism, often juxtaposed with popular song, blurred the distinction between art and kitsch. His eschewal of conventional narrative made him a marginal figure, but towards the end of his life, with several retropectives at festivals and cinematheques, he gained a wider audience of cinephiles. He kept a faithful,...
After a long, fallow period in German cinema, there emerged, in the late 1960s, a new wave of directors, including Werner Schroeter, who has died of cancer, aged 65. What separated Schroeter from most of his contemporaries, such as Rainer Werner Fassbinder, Wim Wenders and Werner Herzog, was his almost complete rejection of realism, social and political, and his espousal of high camp.
Schroeter lived by Oscar Wilde's dictum: "Moderation is a fatal thing. Nothing succeeds like excess." His mixture of flamboyant, gender-bending minimalism and stylised melodrama, inspired by 19th-century Italian bel canto opera and the music of German romanticism, often juxtaposed with popular song, blurred the distinction between art and kitsch. His eschewal of conventional narrative made him a marginal figure, but towards the end of his life, with several retropectives at festivals and cinematheques, he gained a wider audience of cinephiles. He kept a faithful,...
- 4/22/2010
- by Ronald Bergan
- The Guardian - Film News
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