Biography. Vivian Ostrovsky

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Press Reviews

Contactwww.vivianostrovsky.com

info@vivianostrovsky.com

Postal Address

Vivian Ostrovsky

3 King Street

Ny, Ny. 10012. USA

ImprintVivianostrovsky.com 2009 some rights reserved,

CONCEPTION Vivian Ostrovsky, Anne Maniglier

GD Andrés Castoldi IMAGES Vivian Ostrovsky

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Top Ten Stylists, 1981

Movie (VO), 1982

Copacabana Beach, 1983

Allers-Venues, 1984

U.S.S.A. 1985

* * * ( Trois étoiles), 1987

Eat, 1988

M.M. in Motion, 1992

Uta Makura (Pillow Poems), 1995

Public Domain, 1996

American International Pictures, 1997

Work and Progress, 1999

Nikita Kino , 2002

Ice/Sea, 2005

Télépattes, 2007

Fone Fur Follies, 2008

Ne pas sonner, 2008

P.W. - Pincéis e panéis, 2008

The title was shot, 2009

in French

in Portuguese

Biography. Vivian Ostrovsky

Manhattan, New York, was where I happened to be born. After 6 months

of stress, I boarded the first plane to Rio de Janeiro, Brazil, to meet my

parents and sister. My primary and secondary school was not too far from

Copacabana Beach.

My university years were spent in Paris, suffering at the Institute of Psy-

chology (Institut de Psychologie). To make life less tedious, I ended up see-

ing more films around the corner than attending classes at the sorbonne.

After my B.A. in Psychology I enrolled in Film Studies at Paris 3-Sorbonne,

at the Institut d’Art et Archeologie (Eric Rohmer’s classes) and at the

Cinemathèque Française (Henri Langlois’ classes).

In the early 1970s I travelled throughout Europe in a rundown Renault

pick-up, organizing women’s film festivals and distributing films made by

women (the distribution company was called Cine-Femmes International).

My debut as an experimental filmmaker came in 1980, when I co-directed

CAROLYN 2 with Martine Rousset (starring choreographer/dancer Car-

olyn Carlson). It was an expanded cinema /slide installation.

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Many films came afterwards, mostly shot in

super-8 then blown-up to 16mm. Today I shoot

mainly on mini-DV but still use super-8 when-

ever possible.

These films have been shown in festivals world-

wide (Toronto, Berlin, Locarno, Rotterdam,

Tribeca, Viennale and others), in cinematheques

and in art fairs such as the São Paulo Biennale

and Arco, Madrid.

Other venues have also screened them, such as:

M.O.M.A., NY, Lincoln Center, NY, Hirshhorn

Museum, Washington D.C., Centre Georges

Pompidou, Paris, Anthology Film Archives, NY,

Pacific Film Archives, Berkeley, CA.

Simultaneously my film-related activities have

expanded to curating programs for venues such

as the Jerusalem Film Festival. My main interests

are in Avant-Garde works and documentaries.

« Home » is wherever I feel at home – and that

is usually in a hotel or on a plane or on my way

to an unknown destination with my camera and

sound recorder in my carrier bag.

My films can be found in the following collec-

tions: M.O.M.A., NY / Centre Georges Pompi-

dou, Paris / Freunde der Deutschen Kinemathek,

Berlin / Forum des Images, Paris / Israel Film Ar-

chives, Jerusalem /French Ministry of Foreign Af-

fairs for French Institutes worldwide.

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TOP TEN STYLISTS1981- Beta – clr and b/w-58mn. Soft Wear Productions, Dir.: V. Ostrovsky,

E. Ragot, N. Deschaumes, P. Grandrieux, Olivier Guiton, J.de Missolz.

This film was shot in 1979, when there were very few documentaries

made on the realm of haute couture. It was made by 6 filmmakers – 3 men

and 3 women – just to catch a glimpse behind the scenes of a stylish milieu

unknown to most. Enticing top models such as Jerry Hall and Ines de la

Fressange prepare to be catapulted on the catwalk ; hairdressers, photog-

raphers and a whole armada of people prepare the show...

The 10 designers are: Issey Miyake, Karl Lagerfeld, Angelo Tarlazzi, Tan Giu-

dicelli, Jean-Paul Gaulthier, Marithé and François Girbaud, France Andrévie,

Claude Montana, Kenzo and Thierry Mugler.

Nostalgia for fashionistas.

DVD pal

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MOVIE (VO)1982 – 16 mm – clr -10mn. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit: V. Ostrovsky G.Meichler, Sound: V. Ostrovsky, P. Genet

From Paris to Berlin, from Amsterdam to Rio, from Jerusalem to New York. With a super 8 camera shooting only at night. Hungarian crooners, Indian tribal chants, opera arias, and an occasional samba make up the sound track of this “hand-held” diary.

DVD pal – DVCAM pal

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COPACABANA BEACH1983 – 16 mm – clr – 10 mn – Jet Lag Prod. Dir: V. Ostrovsky, Edit: V. Ostrovsky, G. Meichler, Sound: V. Ostrovsky, P. Genet

A humorous glance at what happens every morning on the wavy sidewalks of Copacabana beach. Physical fitness Brazilian style, with a dash of soccer and hints of Carmen Miranda.

BETA SP pal – BETA SP ntsc – DVD pal

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ALLERS –VENUES 1984– 16 mm – clr and b/w – 15 mn. Jet Lag Prod. Dir: V. Ostrovsky, Edit: V. Ostrovsky, G. Meichler, Sound: V. Ostrovsky, P. Genet

A month in the country. In summer, a group of friends rent a house in southern France. People come and go, making their way through chickens, dogs and cats. Playful sounds and a whacky collage of music make up the soundtrack.

DVD pal – DVCAM pal

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U.S.S.A. 1985 – 16mm – clr – 14 mn- no dialogues. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit /sound: V. Ostrovsky, MC. Miqueau

USA + USSR= USSA. My film is about blurred boundaries, probably due to my own personal history. I was born in New York, to Rus-sian and Czech parents, raised in Brazil and educated in France. As a result, the film is a cultural cocktail shot on super 8 in New York, Berlin, Milan and Paris. Starring Gorbatcher and Arafat in cameo roles.

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*** (TROIS ÉTOILES)1987 – 16 mm – clr and b/w – 12 mn. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit: V. Ostrovsky, J. Pecheux, Sound: P. Genet

Sarah and Paul leave their native California once a year to eat their way across France. They test the Michelin guide’s recommenda-tions for three-star restaurants (the top rating) and between meals still have time to do some wine-tasting at the best cellars. The film-maker follows them around in a second car.

DVCAM pal - DVD pal

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EAT1988 – 16 mm – clr – 15 mn. Jet Lag Prod. Dir: V.ivian Ostrovsky, Edit/ Sound: V. Ostrovsky, F. Sculier

An observation of human’s and animal’s table manners as they gulp down breakfasts, lunches, cocktails and dinners in a variety of situ-ations.

BETA SP pal – BETA SP ntsc – DVDpal

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M.M.IN MOTION 1992 – 16 mm – clr – 34 mn and 47 mn version – S/T english. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit/ Sound: V. Ostrovsky, F. Sculier

“Vivian Ostrovsky’s intriguing film focuses on the French dancer- choreographer Mathilde Monnier, now the director of the National Choreographic Center of Montpellier., …..M.M.in MOTION ex-hibits a surrealist sensibility but the mood is playful and the move-ments full of quirky and ironic juxtapositions” (Film Society of Lin-coln Center).

BETA SP pal 34mn – BETA SP pal 47mn - BETA SP ntsc 47 mn - DVD pal

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UTA MAKURA (Pillow Poems)1995 – 16mm – clr – 20mn. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit/ Sound: V. Ostrovsky, F. Sculier In 10th. century Japan, Sei Shonagon, lady-in-waiting to the Empress, wrote of the goings-on at the Japanese court. Fearing vengeance, she hid these secret notes under her pillow. UTA MAKURA is also a collection of humorous observations on modern-day Japan ranging from waterfalls to shopping malls, from kids in kimonos to fresh makimonos, from ancient wisteria to teen- age hysteria, from homemade noodles to live painted poodles.

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PUBLIC DOMAIN 1996 – 16mm – clr – 13 mn – French S/T english. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit/ sound: V. Ostrovsky, F. Sculier

Brooklyn boxers and boucing balls. Catalan dancers and Provençal dogs. The Douro, the Danube, Biarritz, Brazil. In super 8 colours and black and white sounds.

BETA SP pal – DVDpal

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AMERICAN INTERNATIONAL PICTURES 1997 – 16mm – clr –5 mn – English. Jet lag Prod. Dir: V. Ostrovsky, Edit/ sound: V. Ostrovsky, F. Sculier

Relax.

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WORK AND PROGRESS1999 - 35mm – clr – 12mn. Jet Lag Prod. Dir: Yann Beauvais, Vivian Ostrovsky, Edit/ sound: Yann Beauvais, V. Ostrovsky

A trip to Russia by two filmmakers, in 1990, ends up in a twin-screen projection using their super 8 footage mixed in with ar-chival material and a sprinkling of the classics such as Vertov and Eisenstein.

DIGITAL BETA pal and ntsc – DVDpal

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NIKITA KINO 2002 - 16mm - clr and b/w - 40mn. Jet Lag Prod. Dir: Vivian Ostro-vsky, Edit/Sound: V. Ostrovsky, F. Sculier, Animation: George Griffin

The film is a travelogue of sorts. In 1960 my family lived in Brazil when my father discovered that his sister and brother in Moscow, who he hadn’t seen for 40 years, were still alive. Since they couldn’t leave the USSR we went to visit them regularly for about 15 years. At the time I had my 8mm and later a super 8 camera with which I filmed the family, our walks, picnics, visits to the markets and their homes... I decided to use this material, which was not very interesting per se, by mixing it with Soviet found-footage of the same period (1960s, 1970s, 1980s). I used feature films, propaganda footage, newsreels, etc. The result is a kind of Khruschev-era mix with a collage of Soviet music and a voice-over of my reminiscences of the Cold War era.

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ICE/SEA2005 -16mm – clr and b/w – 31mn. Jet Lag Prod. Dir: Vivian Os-trovsky, Edit/ Sound: V. Ostrovsky, F. Sculier, R. Gadish, Animation: George Griffin

Playful collage of sea, sun and ice. A beach extravaganza starring, suicidal skiiers, soaking tigers, plunging mermaids and much more.

DIGITAL BETA ntsc - DVCAM pal – BETA SP pal – DVD pal

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TÉLÉPATTES2007 – Cell-phone made film – 11mins. Jet Lag Prod. Dir: Vi-vian Ostrovsky, Edit: V. Ostrovsky, Ruti Gadish, Claude Mercier, Voices: Michel Foucault, Gilles Deleuze, Sarah Koffman, Marie-Hélène Bourcier, Titles: George Griffin

Télépattes is an 11-minute, animals only, bit of French philosophical fantasy. Starring two cats, a few dogs, a weasel, a baby polar bear and more, with Foucault and Deleuze as part of the soundtrack.

First shown in Paris at the Centre Pompidou in June, the film was commissioned by the Pocket Film Festival and was made entirely on a mobile phone.

Beta SP pal – DVD pal

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FONE FUR FOLLIES (English version of Télépattes)

2008 – Cell-phone made film – 9mins. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit/ Sound: Vivian Ostrovsky, Ruti Gadish, Claude Mercier

Starring among others: two cats, a couple of dogs, a weasel, a baby bear, a macaw and more. With a soound remix of Gloria Swanson, Angela Davis and Marina Abramovic on the soundtrack.

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NE PAS SONNER(DO NOT RING)

2008 – 8 minutes. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit/ Sound: Ruti Gadish, Claude Mercier, V. Ostrovsky

What begins like a series of interrupted phone calls is a kind of query. Can Alain Delon and Monica Vitti retain their magical aura on low resolution? Can my own CELLuloid images mix in with reminiscenses of the 60s and 70s films I fell in love with then?

Does Nokia rhyme with cine-phi-lia?(This is my 3rd film cell-phone-made film.) Beta SP PAL

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P.W. - PINCÉIS E PAINÉIS (P.W. – Paintbrushes and Panels)

2008 – 15 mins. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit: V. Ostro-vsky, Ruth Gadish, Claude Mercier, Sound: V. Ostrovsky, Claude Mercier

This video was made for an exhibition in Rio on Paulo Werneck, one of Oscar Niemeyer’s collaborators. Werneck was the first to introduce mosaics in Brazilian Modernist architecture. P.W. con-textualizes the artist’s work in Rio and Belo Horizonte in the 50s and 60s as well as Brasilia at the time of its construction in 1960. It’s an inventive collage of archival footage, music and Werneck’s modernist mosaics.

Super 8 – Beta sp – DVD

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THE TITLE WAS SHOT2009 – 9 mins. Jet Lag Prod. Dir. Vivian Ostrovsky, Edit: V. Os-trovsky, Ruti Gadish, Claude Mercier Sound: V. Ostrovsky, Claude Mercier

Composed of fragments from over 25 films dating from the 1920s to the 90s, this whimsical short features cowboys, Indians and dam-sels in distress.Tarzan, Jane, a transgender gorilla, and a menacing lion tango from frame to frame, prodded by Wittgenstein, Gilles Deleuze and Slavoj Zizek’s philosophical considerations.

A fast-paced, heart-pounding cinephilic farce.

Beta SP – DVD – MINI DV

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Chicago Tribune1991. Friday, April 12, 8PM

Vivian Ostrovsky

International Filmmaker in Person!

Born in NYC, avant-garde filmmaker Vivian Ostrovsky has made her home

in Paris for a number of years. Charming and humorous investigations of

everyday events, her films combine aspects of personal journal, travelogue

and collage. Ostrovsky’s use of single-frame photography and melodra-

matic music add to the playful and engaging quality of her films. “Playfully

voyeuristic, Ostrovsky catches her subject in the midst of their banal activ-

ities and manages to stick ironic quotation marks around the everyday.”-

The Washington Post Thursday, April 20, 1995

“M.M.”: All the Bright Moves

by Alan M. Kriegsman

Devotees of both independent film making and dance have a modest but

impressive treat in store at the Hirshhorn Museum tonight and tomor-

row night, in the free showing of “M.M. in Motion”, a 46-minute film about

French dancer-choreographer Mathilde Monnier.

The filmmaker, Vivian Ostrovsky, is an American

who lives in Paris; her works have been shown

at the Berlin, London and Jerusalem film festivals

and are also included in the permanent collec-

tions of the Centre Georges Pompidou and the

Videotheque de Paris.

Ostrovsky has been an enthusiast of Monnier’s

dance creations since 1986, when she saw her

in action at the Avignon Festival. “M.M. in Mo-

tion” was four years in the making and draws

upon Ostrovsky’s filming of six Monnier chore-

ographies (dating from ‘88 to ‘91), in rehearsal

and performance. The key feature of the film

is that it attempts to translate into cinematic

terms the very essence and style of Monnier’s

dances. Hence the film - episodic, fragmentary,

impressionistic - captures the defining traits of

a choreographer’s modus operandi. The result-

ant product is illuminating in ways that more

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conventional documentaries scarcely can hope

to be, providing a sense of the creative process

that is truer to real life.

Ostrovsky manipulates every aspect of film im-

agery - there are sequences in black-and-white,

in color, in sepia tones, some speeded up- in

a successful attempt to fuse film and choreo-

graphic aesthetics. Rehearsal sequences are in-

tercut with performance footage. The chore-

ographer’s thoughts are sometimes expressed

explicitly, in directions to the dancers, and

sometimes implied, as when we glimpse Mon-

nier working through an incomplete passage on

her own body, trying this, trying that, questing

for the ideal embodiment of her concept. Along

the way, one also gets a sense of the distinctly

French approach to contemporary choreogra-

phy, much beholden to American models but

very much its own in its emphasis on histrionics,

dramatic contrasts and anatomical extremes.

The film will be shown twice at the Hirshhorn, at 8 tonight and tomorrow

night. Ostrovsky will be present for the showing tomorrow, to discuss her

work and answer audience questions.

Village ChoicesJune 7-13, 2006

Ice/Sea, Directed by Vivian Ostrovsky

Creatures Features. Good-natured docs hop beaches and coif creatures

by Robert Wilonsky

An international cast of curious creatures in their native habitats stars

in this charming Gallic duo of featurettes. Vivian Ostrovsky’s half-hour

compendium Ice/Sea is a celluloid aperitif for summertime, combining

found footage of the world’s beaches with the director’s own archive of

coastal material. Fun and free-associative, the movie ventures to Rio, Mi-

ami, Montpellier, the Dead and Black Seas, and elsewhere, keeping a visual

diary of lumpy beach bods, boardwalk architecture, and celebrity sightings

(Esther Williams, Elvis Presley in his Hawaiian incarnation). Ice/Sea also

showcases a zoo’s worth of beachcombers: dogs, birds, a marauding tiger,

and rounding out the first half of the title, smooching penguins. Enjoy

those icebergs while they last!

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Chicago filmmakersApril 11, 1991

Reelism, Repertory and revival

by Bill Stamets

Cosmopolitan filmmaker Vivian Ostrovsky is on a cross-country tour with

a batch of her wonderful little films. Made between 1982 and 1988, they

offer a whimsical archaeology of the everyday-perceived by this visitor to

New York, Moscow, Paris, Berlin, Milan, Rio, Amsterdam and Jerusalem.

For a retrospective, the Pompidou Center called her films “mosaic jour-

nals”. She’d rather be identified by gauge (Super-8mm) than by genre (e.g.,

experimental). In a telephone interview she demurred, “I like cats, not

categories”. Cats and cute pets are inter-cut with people eating in her film

“Eat”, a zoological overview of “table manners”.

Editing with cartoonish music, she toys with sped-up shots and Candid

Camera tactics, Shooting from a tourist’s vantage, she relishes in micro-

scopic takes on the mannerisms of wacky French folks at their leisure.

Before “L’Atalante”, French director Jean Vigo made “A Propos de Nice”,

a sarcastic travelogue predating Ostrovsky’s “Copacabana Beach”. Vigo

believed he had caught, in 1930, “the last twitch-

ings of a society” that would “give you nausea

and make you an accomplice in a revolutionary

solution”.

Instead, Ostrovsky -once an author of children’s

books- serves up a bourgeois apology for aero-

bics by the seashore and weekends in the coun-

try. The recreation, if not the revolution, will be

televised.

Libérationdu 17 nov 2005

Paris/ Berlin, champ d’expériences

d’Elisabeth Lebovici

…« En regardant le formidable ICE/SEA de Viv-

ian Ostrovsky, on comprend qu’il ne suffit pas

d’être touriste pour faire du cinéma. Utilisant

ses propres archives en super-huit, mini-DV, VHS,

et Bêta ( selon l’époque) cette cinéaste américa-

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no-brésilienne française annonce modestement

faire un « film de plage ».

Une plage panoramique puisqu’elle va de Salva-

dor de Bahia à Recife et en Patagonie, en pas-

sant par la Camargue et la Bretagne, la Grande-

Motte et Varna en Bulgarie. Elle combine, par

exemple, des coassements tropicaux avec des

vues de banquises bleuâtres. Tout ça amène à

reconsidérer l’immédiateté du geste filmique

amateur . »…

Libération du 16 avril 2006.

“ …Arrêt sur nuage est un florilège décapant

des propos tenus par les politiques, scientifiques

et journalistes lors de la catastrophe de Tcher-

nobyl survenu il y a vingt ans…”

Marc Laumônier.

BooksAFEA Editions

2006

IMAGES/ DISCOURS

(Entretiens avec: Nicholas Rey, Vivian Ostrovsky,

William English, Yannick Koller)

POUSSIÈRE D’IMAGE

1998

Collection Sine Qua Non

Cinema -je ou cinéma-jeu par Yann Beauvais

Edition Paris Experimental

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O Globo Online16/6/2007

Carlos Alberto Mattos

Vivian Ostrovsky nasceu em Nova York, numa familia de origem russa,

estudou com Henri Langlois na Cinemateca Francesa e vive entre New

York e Paris. Mas se a incluo nessa consulta aos principais documentaristas

brasileiros é porque ela viveu dos seis meses aos 17 anos no Rio e nunca

mais tirou o Brasil de seu campo de referências. Pelo menos uma vez por

ano ela passa uma pequena temporada no Rio- onde vive sua mae- reabas-

tecendo- se de amizades e imagens.

Vivian não anda sem sua câmera de “catadora de imagens” ( assim se

referiu a ela Tunico Amâncio, numa entrevista definidora de 2003).

Antes era uma Super 8. Agora é uma digital. O trabalho que faz se nutre

amplamente de seu diário audiovisual, que se intensifica nas muitas viagens.

Se estendesse todas as peliculas Super 8 que conserva em seu estudio ao

lado do Beaubourg, poderia chegar à Versailles ou Chartres.

Embora se componham sobretudo de cenas

documentais ( proprias e de arquivos), os cur-

tas e médias-metragens de Vivian Ostrovsky

não são docs no sentido estrito. Sua utilização

inclina-se mais para o experimental, o humoris-

tico e o poético.

Em “Copacabana Beach” (1982), por exemplo,

ela evidenciou o inusitado nas praticas corpo-

rais dos gimnastas da praia carioca.

“Eat” (1988) alternava imagens de gente e de an-

imais comendo. ”Uta Makura”(1995) reunia fla-

grantes da viagem em que ela descobriu o Japão.

Ja em “Nikita Kino” (2002), Vivan mesclou cenas

de sua familia russa com imagens de arquivo do

cotidiano e da propaganda soviética, obtendo

um blend quase indescernivel de memorias pes-

soais e coletivas.

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De vez em quando, alguns desses biscoitos finos podem ser degustados no

Festival do Rio ou no de Curtas de Sao Paulo. Mas os programadores bra-

sileiros ainda nos devem uma mostra integral dessa artista absolumente

singular tanto nos métodos como nos resultados.

Os filmes-farois de Vivian Ostrovsky dão bem a medida do coquetel de in-

vestimento pessoal, registro, invenção e humor que caracteriza sua obra.

O Estado de São Paolo7-11-1989

Curtas/ Critica

O mundo em estilhaços de imagens.

By Jim Joe

Se for preciso uma definiçao para o trabalho de Vivian Ostrovsky, que

seja cinema experimental. Mas ela adverte que não pretende provocar os

costumeiros bocejos aos quais estão acostumados os espectadores dessa

malfadada espécie de expressão artística. Vivian que nasceu en Nova York,

mas viveu no Rio de Janeiro desde os nove meses até concluir os estudos

secundarios, diz que faz filmes para si mesma. Ela se diverte ao fazê-los.

Talvez por isso mesmo ela consiga divertir os espectadores. Seu olho se

Uma exceção de doc mais caracteristico (mas

nunca convencional) é “M.M in Motion” (1992),

sobre o trabalho da coreógrafa francesa Math-

ilde Monnier. Vivian a retratou 13 anos antes de

Claire Denis o seu Em Direçao a Mathilde.

Além de realizadora, Vivian ja foi distribuidora

de filmes de mulheres e hoje atua como pro-

gramadora do festival de Cinema de Jerusalem

(para a edição deste ano, 5 a 14 de julho, ela ten-

ta fechar uma retrospectiva dos filmes restaura-

dos de Kenneth Anger). A familia Ostrovsky, por

sinal, é uma das mantenedoras da Cinemateca

de Jerusalém.

Ha poucas semanas, Vivian divertia-se com um

celular Nokia fazendo TéléPATTES, um filme es-

trelado somente por bichos, para o Pocket Film

Festival de Paris. Seus filmes circulam em mos-

tras e festivais nos EUA e Europa.

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fixa em imagens cotidianas que todos os olhos vêem, mas a decodificação

bem-humorada disso nos põe diante de algo como « cenas que gostaria-

mos de ver ».

Partindo da cena banal, Vivian chega a colagens de sisoes e sons. Sua câ-

mara super oito fragmenta o mundo em pedaços, ao mesmo tempo em

que une o planeta ao não impor barreiras geograficas, passando natural-

mente de um banheiro de boate europeu frequentado por um travesti ao

calçadão de Copacabana. O som que Vivian coloca como parte fundamen-

tal mais do que mera trilha sonora é formado por estilhaços acusticos que

atingem o ouvido em acordo ou desacordo evidente o quadro de Eventos

Especiais da 20 Bienal internacional, Vivian selecionou seis curtas realiza-

dos entre 1982 e 1988 com durações variaveis de 10 a 15 minutos.

Formada em psicologia com especialização em cinema, Vivian nao tem a

preocupação de fazer filmes como uma forma de contar hsitorias. Ela sim-

plesmente deixa sua câmara procurar os objetos e as pessoas. Misturando

cenas noturnas, de vagas luzes que podem iluminar vagabundos notivagos,

com cenas à luz mais esfuziante do sol como a relembrar um piquenique

em familia, Vivian capta e remonta os pequenos habitos do bicho homem.

E assim como o som, onde se ouve de dialogos interrompidos a canções

tipicamente brasileiro-interioranas, as cores

apreendidas pelas câmaras fornecem o impacto

suficiente para se encararem as obras quase

como telas em movimento, numa animação so-

bretudo sonora.

Nos 14 minutos de USSA, de 1985, retoma o

tema das barreiras geograficas abordado em

Movie, de 82, e vai além, quebrando as barreiras

idelógicas. USSA viaja sem escalas por imagens

de Moscou, Nova York, Paris, Milano e Berlim.

Depois da world music, Vivian parece sugerir

e surgir com o world movie. E o minimo que

se pode pensar quando os olhos deparam um

tradicional ritual judaico cujos participantes se

movem fervorosamente em roda ao som de um

febril samba rasgado.

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