Those not entirely sold on (or more likely not so sure what to make of) JOHANNA D'ARC will nonetheless have to concede that it is a work of some considerable joie de vivre. Ottinger has created a boisterous pageant. It is also queer ethnography of a sort, the gaze itself queered, the baroque cavalcade committed to unique womanly combinations. It is a movie of purposefully sloppy legerdemain. Fake can be just as real.
Mit der Transsibirischen und dumpf deklamierten Textpassagen durch deutsche Pappkulissen hinein in mongolische Volkstümelei und Matriarchatverherrlichung, stets flankiert von der gewohnt irrlichternden Irm; der zweite Stern gilt Peter Kern. Und das alles auch noch finanziert vom ZDF – was waren das für Zeiten!
they say mel gibson did it unwillingly: in his apocalypto he mixed times and cultures, and was totally convinced he gave a solid description of one particular moment in a civilization. the new self-titled Chronos rearranged the shelves of the historic hypermarket according to his own whimsical notions of bric-a-brac simultaneity. that was failure, or humor without laughter, given all the surrounding gore.