Freak Orlando

It is a film according to the classification table, where the "x" axis and the "y" axis allow for basic coordination of objects within each column - but nothing more. Each column then represents a separate object, "connected" to others not by an internal relationship, but by mere correlation to the basic coordinates. The relation to the "x" axis could be a shift in time and to the "y" axis, the degree of nonsense. The problem is clear – the almost absolute discontinuity between individual objects/scenes, singular images and singular allegories, which is a problem because, for example, an allegory cannot be unique if it is to have a broader significance. In other words, if the thread is lost, all that remains is the panopticon. Ottinger also has a relative aversion to words as a means of communication, not only for the film characters but especially toward the viewer and therefore, trying to extract meaning from technically almost silent Dadaist situations and scenes requires a considerable amount of imagination. However, some scenes are worth it (although I do not know what exactly "it" is...) because you definitely do not see experimental feminist absurd avant-garde every day. (12.05.2015)