On her deathbed, an elderly Russian aristocrat confides to her son-in-law that she had hidden her jewellery in one of the twelve salon chairs that were appropriated by the authorities after the Russian Revolution. He eagerly embarks on the quest to find them.
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Of what i've seen from Ottinger, i liked her Johanna d'Arc of Mongolia and Freak Orlando most of all (but Taiga is still a serious competitor to be examined). In 12 chairs her theatrical nonchalance is outrageously present (theatrical not as melodramatic, but because i think she borrows from theatre this synechdochic manner to employ space and objects, to order the viewer to take a part for the whole and take it for