A posh aristocrat's drunken shuffle through the post-modern, post-structuralist wasteland of post-war Berlin signifies a repudiation of modern ethics and expectations... Prost! Language is no longer a viable method of communication. Excess is no longer a privilege of the upper class. Modernity's failed pledge for unity built on the preservation of logic and ambition has resulted in the celebration of resignation and the descent into hedonistic splendor. To act irrationally, to reject rational thought, is the only logical continuation in the wake of twentieth-century horrors. The appeal for harmony and beauty through art and culture has been replaced by the promise of temporary happiness and decadence through hollow consumerism; "pleasure gained not by aggression but by regression." The film poses the question: which is worse? External destruction or spiritual dilution; one is the product of the other, and both are roads that lead to the annihilation of individualism. Ticket to No Return is a beautifully shot and artfully imagined film that is simultaneously profound and ludicrous. Its incessant absurdity is both endearing and insufferable, revealing and isolating. By no means is it thoroughly enjoyable, though it does present the viewer with rich aesthetics and a thought-provoking narrative.
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blakestachel23 November 2022
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glitterinyourgruel28 February 2007There is not much of a cohesive plot to speak of, but nonetheless this is a great film. The lead character does not speak, so if this would bother you then you should not watch this film. I think of this as a German, experimental Absolutely Fabulous. Nina Hagen has a bit role in this film, and she is spectacular. The tone of this film is a lot like Fassbinder's Satan's Brew, in fact Ottlinger could be called the female counterpart to Fassbinder. This is a comedy, but a subtle, and strange one. Unfortunately, I don't think this film is available in the U.S., however a German woman showed it to me and the version she had did have English subtitles, so it is out there somewhere.
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"Bildnis einer Trinkerin. Aller jamais retour" or "Portrait of a Female Drunkard. Ticket of No Return" or "Ticket of No Return; Portrait of a Woman Drinker" is a West German German-language movie from 1979 that is already over 35 years old. It is one of the most known works by writer and director Ulrike Ottinger. The film runs for slightly over 100 minutes and is in color and live action of course. If you understand the title, you also understand the very general plot idea. It is a depiction of alcoholism and several people suffering from this terrible disease, mostly women, but occasionally also a male. I personally think this is a very difficult film to construct a convincing story around as it has to feel very authentic in terms of the writing and the actors have to be good and master the challenge of playing an alcoholic without making it look fake or try-hard, but also still be serious enough so that the audience never feels they are watching an actor actually.
And I don't think this had been achieved here. One reason may be that the experimental, almost avant-garde take on thinks makes it even more difficult to work. It's like Brakhage meets "The Lost Weekend". And this is also why I personally am not surprised that this movie here did not receive any awards attention at all apparently, even if it has not been forgotten like other Ottinger works. I recommend the likes of "Bad Lieutenant" or Harald Juhnke's somewhat autobiographical movie "Der Trinker", which strikes much more on an emotional note than this one here. And I can't deny I was kinda bored by this one here on some occasions and I did not care half as much for the characters as I hoped I would. Thumbs down from me. Not recommended. -
nairtejas1 June 2020Ticket of No Return is a very weird film, without a plot but with an abundance of symbolism and beautiful costumes worn by the fabulous protagonist as she flies to Berlin to spend days and nights of complete drunkenness without any care for the world that sees male drunkenness as positive and female drunkenness as repulsive and degrading (which is narrated by the onlookers and a special trio of sociologists), ultimately giving us a lot of information to look at and ponder upon about women who booze and the emancipated lives of drunkards themselves but still with the ability to put you to sleep if you are not smitten in the first few sequences. TN.
(Film #3. Watched and reviewed at its online premiere at the We Are One Global Film Festival on YouTube. Curated by the Berlinale.)