Dore O.’s films seem to claim a certain uniqueness and independence from the dominant, yet diverse and irreducible currents of German experimental cinema. As the critic Dietrich Kuhlbrodt declared already in 1988: »Dore O. has become classic, and suddenly it turns out that her work has passed the various currents of time unharmed: the time of the cooperative union, the women's film, the structuralists and grammarians, the teachers of new ways of seeing ...