Invoking Rainer Werner Fassbinder’s irreverent, artful kitsch, Federico Fellini’s carnivalesque grotesquerie, and Werner Schroeter’s impenetrable, autobiographical self-evidence, Ticket of No Return encapsulates the highly stylized, funny, frustrating, offbeat, decadent, intoxicating, and fevered delirium that is Ulrike Ottinger’s cinema. A chronicle of an archetypally beautiful, impeccably dressed woman “of antique grace and raphaelic harmony” eponymously called […]
