Film screening Ticket of No Return

Filmstill Ticket of No Return, 1979 © Ulrike Ottinger

Fri, 25.09.2020 -
Thu, 01.10.2020

Cinema Akil

Filmstill Ticket of No Return, 1979

All performance times and the possibility to buy tickets online can be found on the website of our partner Cinema Akil.

Experimental, Drama
Germany 1979
108 min.

Director: Ulrike Ottinger
Screenplay: Ulrike Ottinger Cinematography  Ulrike Ottinger
Cast: Tabea Blumenschein, Christine Lutze, Magdalena Montezuma, Orpha Termin, Paul Glauer, Nina Hagen
Producer: Ulrike Ottinger, Tabea Blumenschein
Production: Company Zweites Deutsches Fernsehen, Mainz, Autorenfilm-Produktionsgenossenschaft, Berlin

A rich and glamorous woman, “She” (Tabea Blumenschein), moves to Berlin to fully indulge in alcoholism. She encounters the “Woman drinker of Zoo station”, who marks social decline, but nevertheless sees life more positive than “She”. "She" drinks her way through various pubs and has nightmares in which she pursues different careers. Further female artificial characters such as “exact statistics” or “common sense” comment on her situation. 

The background is Berlin, developed in a grotesque sightseeing tour and supplemented by authentic contributions from people who live in the city or are guests: rock singers, writers, artists, taxi drivers.

Ulrike Ottinger was born in Constance in 1942. From 1959 she studied art in Munich, between 1962 and 1968 she worked as a photographer and painter in Paris. In 1966 she wrote her first screenplay, in 1969 she founded the film club “Visuell” in Constance, which she directed until relocating to Berlin in 1972. Her first film was made in 1972. As with most of her productions, she directed, wrote the screenplay, handled the camera and produced the film herself.

“[…] Intellectual fun for the eyes - and at the same time a Berlin film. Where else in a German city is there a similarly close connection between hypermode and subculture? The director is a virtuoso in the conception and implementation of images, in the photographic confrontation of opposites. Above all, she has a very captivating mannerist power […].”
H.G. Pflaum, Süddeutsche Zeitung,  12/2/1980