1981·Comedy·2h 6m
7.1
★
Five more-or-less distinct sections, all featuring "Freak" Orlando, a woman played by the late Magdalena Montezuma, who appears in various guises and deformities throughout.
Directed by Ulrike Ottinger
surreal
woman director
IMDB
N/A
Cast
Magdalena Montezuma
Orlando, als Pilger, Orlando Zyldopa, Orlando Orlanda, Orlando Capricho, Mr. Orlando, The Entertainer Mrs. Orlando
Delphine Seyrig
Helena Müller, als Lebensbaumgöttin, Kaufhausonsängerin, Mutter der Wundergeburt, Helena-Maya, Siamese sister Lena, Bunny Helena
Hiro Uchiyama
Zwei Tänzer, Department Store Detectives, Acrobats, Moines, Cerbere, Human-birds, Nurses
Eddie Constantine
Säulenheiliger
Dan van Husen
Zwolf Lederboys
Ula Stöckl
Vier Frauen
Jackie Raynal
Siamesischr Zwiling Leni un Bunny
Eva Ebner
Frau Gorgo
Crew
Ulrike Ottinger
Director
Ulrike Ottinger
Writer
Ulrike Ottinger
Director of Photography
Pia Frankenberg
Co-Producer
Eva Ebner
Assistant Director
Pia Frankenberg
Script Supervisor
Ulrike Ottinger
Production Design
Popular Reviews
10 reviews
djinni
kotu film ama kadin yonetmen oldugu icn cok guzrl
kotu film ama kadin yonetmen oldugu icn cok guzrl
Kubilay
watching freak orlando as someone who’s never really vibed with episodic storytelling was, i’ll admit, a challenging experience. ottinger’s wide, detached frames keep you at arm’s length — “pure spectacle,” like watching from behind museum glass. what unfolds is a parade of living tableaux, a swirl of parody, myth, and intellect that feels less like indulgence and more like instruction — a lesson in cinema and human imagination. still, delphine seyrig, ever the visionary, hoists the arthouse realm on her shoulders with that untouchable mix of poise and madness. watching it at the turkish cinemateque with ottinger herself in attendance felt historic — until the final q&a, when a long-winded, self-affirming question about the genocide in gaza met an equally frustratingly neutral response. a question desperate to prove itself, an answer too afraid to mean anything — maybe that’s the tragedy of intellect: when identity and legacy weigh heavier than truth.
watching freak orlando as someone who’s never really vibed with episodic storytelling was, i’ll admit, a challenging experience. ottinger’s wide, detached frames keep you at arm’s length — “pure spectacle,” like watching from behind museum glass. what unfolds is a parade of living tableaux, a swirl of parody, myth, and intellect that feels less like indulgence and more like instruction — a lesson in cinema and human imagination. still, delphine seyrig, ever the visionary, hoists the arthouse realm on her shoulders with that untouchable mix of poise and madness. watching it at the turkish cinemateque with ottinger herself in attendance felt historic — until the final q&a, when a long-winded, self-affirming question about the genocide in gaza met an equally frustratingly neutral response. a question desperate to prove itself, an answer too afraid to mean anything — maybe that’s the tragedy of intellect: when identity and legacy weigh heavier than truth.
Liberty
7.7★ · 01/28/25
Rest up Virginia you would have loved to see dolls heads on chickens
Rest up Virginia you would have loved to see dolls heads on chickens
Iris
6.0★ · 10/13/24
Its giving camp Jacques Demy mais en allemand avec des gens tout nus (Virginia Woolf serait fière)
Its giving camp Jacques Demy mais en allemand avec des gens tout nus (Virginia Woolf serait fière)
cowfemme
this is just normal orlando for a freak like me
this is just normal orlando for a freak like me