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In this autobiographical film, contemporary artist Ulrike Ottinger looks back at a formative period in her life and she city where she lived it. With photographs and archival footage, Ottinger explores the intellectual, cultural, and political currents of Paris in the 1960s and their impact on her development.
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The New Yorker by Richard Brody
Her rhapsodic tribute to the teeming artistic apprenticeship that Paris soon offered her isn’t solely a vision of beauty: she also observed, and unsparingly recalls, the political and social ugliness with which she was confronted during her time there.
The New York Times by Glenn Kenny
The filmmaker has what seems like a torrent of anecdotes and attendant ideas to impart, but the movie never feels rushed.
Variety by Jay Weissberg
Ottinger takes us through this formative time of her life in a way that deftly balances past and present to paint a picture of a threshold era of both positives and negatives.
Slant Magazine by Diego Semerene
While Ulrike Ottinger accesses the most consequential of decades through nostalgia, she does so with humility.
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