China marks the beginning of the extensive Asian theme in Ottinger’s filmography and is her first travelogue. Her observant eye is interested in anything from Sichuan opera and the Beijing Film Studio to the production of candy and sounds of bicycle bells.
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Jazz in Love tells the story of Jazz, a young man from Davao whose dream wedding is within reach: his boyfriend of 11 months has proposed. Because no law allows him to get married in the Philippines, he must fly to Germany, his boyfriend's home country, and tie the knot there. One of the things that stand in his way is his inability to speak Deutsch, and to address that he must temporarily relocate to Manila for language lessons. Meanwhile, his parents remain completely unaware of the radical changes that his life is about to undergo.

These are conversations I had with four football partners respectively on the way to the football field,on the way back from the football field,on the way to class,on the way to the bar. The content revolves around freedom,love, meanings of life and so on, which is mainly about their views on the life situation of themselves.

This film cross-cut the "Odessa Steps" chapter from the famous war movie "Battleship Potemkin" (1925) and the actual footage of the Russo-Ukrainian conflict in 2022. It uses a 21st-century "Montage d'Attraction" to explore The circle of history, the contradictions of civilization, and the crisis of life.

The documentary "The Garden" focuses on the "old city renovation" project of BaDaHu Residential area in Qingdao. After the film was released online, the renovation project of this residential area became the only illegal demolition activity that was stopped in China in 2010. A special report by China Central Television revealed that this project was demolished and built without government approval by impostor, fictitious official letter.

Magic Mirror combines a re-staging of the French Surrealist artist Claude Cahun’s black and white photographs with selected extracts from her book Aveux Non Avenus (Confessions Denied). In Surrealist kaleidoscopic fashion the film creates a weave between image and word, exploring the links between Cahun’s photographs and writing as well as between those of the films of Sarah Pucill, as both artists share similar iconography and concerns.