PRINT February 1993


I WAS PLEASED to welcome Ulrike Ottinger to the University of California, Santa Barbara, back in October. She was appointed Regent’s Lecturer and was in attendance at the screenings of seven of her films, beginning (out of chronological sync) with Freak Orlando, 1981, and closing with the U.S. pre-premiere of her newest film, Taiga.

Between Freak Orlando and Taiga there are still exemplary similarities that tell us something about the style or strategy of Ottinger’s work. In both the freaks movie and the Mongolian-shaman-cult film, there’s the interest in those traveling or nomadic cultures that to this day take us to the margin, which is the edge of where reality begins.

A special relationship to reality, that is, to the other, that is, to the future, is what Ottinger’s cinema is all about. And that’s why with Ottinger’s work we’re at movies that take the time it takes to encounter the

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