乌尔里克·奥廷格（Ulrike Ottinger），一位作品比韦纳·施罗特更少更难得一见的新德国电影导演，她是七十年代德国电影中风格最独特的女导演，是新德国电影中实验电影分支的重要人物之一。乌尔里克·奥廷格1942年生于康斯坦兹，1959年至61年在慕尼黑学习艺术，绘画和摄影，随后前往巴黎寻梦，整个六十年代她一直在巴黎做一名自由艺术家，但却经受着生活的艰难和理想的破灭，七十年代初回到德国，从没有经过专业电影学习的她拿起了摄影机，1973年她拍摄了第一部纪录短片《狂热的柏林》，接着又拍摄了《拉奥孔和孩子们》（1975），一部四十分钟长超现实风格的故事片，1978年的《X夫人：绝对的统治者》把她推向了德国实验电影的先锋地位，这是一部充满了各种离奇荒诞的想象和大量隐喻画面的女性前卫电影杰作，1984年的《多丽斯·格蕾在黄色杂志中的照片》更是集超现实剧情，实验性摄影角度和奇异的人物造型于一身的先锋电影经典。纵观她的所有作品，均为集导演，编剧，制片和摄影于一身，片中充满着各种怪诞夸张的超现实影像，完美结合音乐和画面，通过描写人类对一种疏离的生活状态的试图改变和反抗而使观者得以思考和共鸣，更值得一提的是，从八十年代开始她拍摄了几部关于中国历史和人民生活的超长纪录片，显示她对不同文化的兴趣和探知，乌尔里克·奥廷格无疑是新德国电影中女性导演的杰出代表。
推荐影片：
《X夫人：绝对的统治者》（1978年，118分钟，彩色）
《女酒鬼的肖像》（1979年，108分钟，彩色）
《怪诞的奥兰多》（1980年，126分钟，彩色）
《多丽斯·格蕾在黄色杂志中的照片》（1984年，150分钟，彩色）
《中国 - 人民》（1985年，270分钟，彩色/黑白）
《蒙古的圣女贞德》（1989年，165分钟，彩色）
《上海放逐》（1997年，275分钟，彩色/黑白）

This bizarre film by one of the most original directors now working in Germany is hermetic, expressionist, oblique, and of a creative perversity that bespeaks the presence of a genius. Purporting to deal with a real-life 19th century diva 'whose popularity was such that over-exertion led to her death while singing,' the film is actually a grisly series of frozen or tortured tableaux (predominantly lesbian in implication) of heavily rouged, frequently ugly women who, pretending to sing heavy opera, go through contorted, icy attempts at communication that lead nowhere. The lip-sync is off; the singing is off-pitch; mouths are frequently open while no sound issues forth, or closed, with mellifluous arias or cheap popular songs heard on scratchy renditions of old records. Neither burlesque nor slapstick, the film's intent, at least in the beginning, is nevertheless ironical and subversive, though mysteriously so. However, it grows increasingly dark and more threatening, with screams, faces bathed in Vaseline, red, wet mouths, smeared eye shadows, and dehumanized figures. One cannot 'explain' Schroeter's work, other than recognize his debunking of opera as a metaphorical rejection of bourgeois society; but one trembles in recognition of a prospective major talent."
Amos Vogel, Film as a Subversive Art

一张到柏林的单程机票，两位个性迥异的女人，展开一趟诡异而漫无目的喝酒之旅。她试图忘却过去，活在世上只为了单一而专注的目的——那便是狂饮，她生而饮酒，为着饮酒而生，陶醉在自己的世界里，虚无度日。此为导演乌尔里克奥廷格「柏林三部曲」的首部曲，透过不羁的女性角色，勾勒出奔放、缤纷、自由的柏林。颠覆传统的女性银幕形象，丰沛的影像语言，时尚前卫的美术设计，令人联想到法斯宾达玩世不恭又精巧的媚俗形式、费里尼的嘉年华式荒诞无度，以及华纳・雪洛特式晦涩难解的自传体。

Carla (Carla Aulaulu), Mascha (Mascha Elm-Rabben), and Magdalena Munn (Magdalena Montezuma).[40] They perform as second-rate cabaret singers during the Nazi era, forced to disband when Carla takes a job with a Viennese theatre and Mascha has a nervous breakdown. Pilot haphazardly (and without much clarity) follows their individual activities; instead of depicting Carla's "show," for instance, we see her singing its main song while apparently working in a Viennese pastry shop. Magdalena attempts to find work for Mascha by posing as her aunt and appealing to a Nazi official; later Mascha rescues Magdalena from drowning herself. The two eventually find jobs as secretaries, after brief stints as "creative artists." Magdalena's voice-over then informs us that all three women meet again after the war at a Bruckner concert. They begin discussions about regrouping to go to the United States, this time as reformers rather than performers, to preach integration (apparently we are now in the late 1960s, the time of the film's production). Carla, nostalgic for their earlier Nazi stage career, is hard to persuade, but eventually they leave for the United States. Their rapid downfall as teachers there results from the publication of a Nazi-era photo of them; added to this is the controversy of Mascha's undepicted liaison with an American bomber pilot. We are told there is a trial (also undepicted), and the three go back to Germany where they perform for American troops. Carla has a miscarriage from the bomber pilot and suffers badly. The final image shows Magdalena supporting Carla as she walks around weakly in front of the same building we saw in the film's opening shot.

A feminist cult survives by robbing and killing passersby, at their remote desert ranch. The North Star Dhruva cult leader Magdalena refuses to work for the Yankee dollar. Consequently she subjugates her two followers, who are forced to listen to the music of German opera all the time, while Magdalena drinks rum and Coca Cola in the ranch's ornate bar. But the lesbian masochist's iron rule over the rundown California ranch is questioned when a mother-loving young male wanderer, Lord Invader, stops in and romances the cult's meek slave Ila, after his mother is turned away by Magdalena.

艾伯特（莫斯特法-贾贾姆饰）是一名园丁，他痴迷于种植完美的玫瑰。然而，他的痴迷被新的痴迷者费尔南多（安东尼奥-奥兰多饰）所取代，他发现费尔南多在庄园的小教堂偷窃虔诚的供品。阿尔伯特将费尔南多关在马厩里，每天来喂食和陪伴他，但他的母亲（玛格达莱娜-莫克特苏玛饰）一直在看着这一切。这部影片在表现上明显带有同性恋色彩，特别是在结尾部分，画面让人想起圣塞巴斯蒂安的图像，试图创造一种关于完美浪漫理想的氛围。

　　某控制论与未来科技研究所的跨时代项目斯莫莱克戎1号，是一种应用高端技术架设微缩世界的电子怪物。它可以针对社会，经济以及政治事件做出精确的预测。由于这个研究项目的创办人兼总监沃尔摩尔教授神秘死亡，所长任命斯蒂勒博士作为这个项目的继任负责人。不久斯蒂勒的同事们发现新总监也开始状若疯狂。然而，随着老友--研究所安全主管劳兹神秘消失事件的不断深入，斯蒂勒渐渐分不清究竟是自己病了，还是身边的世界病了....

　　《世界旦夕之间》是1973年法斯宾德为电视台制作的两部式科幻电影，改编自伽洛耶出版于1964年的长篇小说《三重模拟》（Simulacron-3），本片后来被好莱坞翻拍成《异次元骇客》（The Thirteenth Floor），并深刻启发了后来的同题材系列电影《黑客帝国》。