Freak Orlando

Unlike Ottinger's newest film-which features Magdalena Montezuma, Delphine Seyrig and Eddie Constantine-is described in the 1982 Berlin Film Festival notes as "a magic mixture between wishful dreams and nightmares; it is pantomime and choreographic picture-symbolism in excess. It is an exaggeratedly congenial cripple-orgy about the myth of the marked: Ottinger's Fellini-Circus.... "Sitting freaked out from a fantastic and grotesque selection of mythological special offers in a blue and red plastic-bag, monster glitter-escalated department-store of 'Freak City,' one wonders about this human circus looking for the hole in one's perception. One doesn't seem to get anywhere. Then Ulrike Ottinger bricks up all exits out of this ghost-train with ever unexpected, romantically gruesome metaphors for the fate of those who differ. "Orlando, the outsider-figure, is rushed through the centuries starting from the middle ages up to modern times in five episodes, changing into various characters: Magdalena Montezuma in Orlando Zyclopa's skin, with and without a mustache, as a He and a She, as a lover and as a an entertainer in a Playboy-Bunny club. "Those who are looking for the safety-belt of logical references will fall into a deep well, as there are none.... And this is not really necessary either, this being a film for the eye, first and foremost, a bustle of associations, visions and metamorphoses about the abnormal, in which the normal like to be reflected...."

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