Ticket Of No Return

There really isn’t much of a discernable plot to Ticket of No Return. It is a collection of strange incidents to show us that Sie has no limits and is hell-bent on self-destruction. One could argue that Trinkern vom Zoo is some future version of her self, showing her what she’ll become if she keeps going down the path she’s on. One could also argue that it’s a complete mish-mash of funny and devastating events that could only occur in the lifetime of an alcoholic.

“…one of the most unique pieces of art-as-cinema I’ve seen to date.”

Director Ulrike Ottinger, who has been compared to Fassbender and who is still making films, really made one of the most unique pieces of art-as-cinema I’ve seen to date. There are so many possible metaphors ripe for the picking. The set pieces are what make the movie since the plot gets thrown out the window pretty early on. Not a lot of directors can make a film such as this that isn’t total garbage. I’m sure some other critics might argue that this film falls into that category, but I disagree. There is so much beauty in the hideous in Ticket of No Return. I also can’t fail to mention that the costumes, particularly Sie’s and the sociologists, are otherworldly amalgamations of high fashion and camp. What’s even more interesting is that Tabea Blumenschein, Sie herself, designed all the costumes.

I, for one, am glad that the Berlin International Film Festival unearthed this gem that’s criminally underseen, particularly by American audiences, as it hasn’t been available in any format here for quite some time. Perhaps this will lead to a Blu-Ray/VOD release, so even more people can see it, but one can’t be sure. If you missed the screening on its initial run, it would still be running on the We Are One Film Festival YouTube channel for seven days. Try your best to hunt it down if you are interested in experimental foreign cinema.

Ticket of No Return was the Berlin Film Festival entrant to the 2020 We Are One: A Global Film Festival.