Johanna D'Arc of Mongolia, Ulrike Ottinger, Germany, 1989, 165', Original version with Basque subtitles, DCP.
Which of Ottinger's films could explain her constant habit of transiting from fiction to documentary, from the pictorial to the austere, from the anthropological to the modern construction, from observation of others to writing in the first person?
Four women from different cultures meet on the Trans-Siberian railway, the greatest of all train journeys. Starting from this plot, Ottinger deploys all her narrative and visual power.
Session presented by Sahatsa Jauregi and Leire San Martín, who in 2015 organised a retrospective on the work of Ulrike Ottinger in Bilbao and Donostia-San Sebastian.