Vivian Ostrovsky
1945 (80 лет)Ostrovsky’s films explore the theme of transit and she situates herself after French filmmaker and critic, Yann Beauvais between the “journal film” and the “collage film”.
Été
Martine Rousset
Marie Odile Briot, Vivian Ostrovsky
The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. Humble vacancy with furtive foliage. Fragile memory. Light is a trace of forgetfulness.
Été
U.S.S.A.
Vivian Ostrovsky
USA + USSR = USSA. My film is about blurred boundaries, probably due to my own personal history. I was born in New York, to Russian 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.
U.S.S.A.
But Elsewhere Is Always Better
Vivian Ostrovsky
Chantal Akerman, Vivian Ostrovsky
A new short film by Vivian Ostrovsky remembering Chantal Akerman, beginning with their first meeting in the early 1970s. Using her own footage of Chantal Akerman, the filmmaker remembers a few moments that illustrate Chantal's personality. Forty years of friendship condensed into four minutes...
But Elsewhere Is Always Better
SON CHANT
Vivian Ostrovsky
Chantal Akerman, Sonia Wieder-Atherton
Going through my mini DVs shot over the past decade, I rediscovered a forgotten night sequence of Chantal Akerman and Sonia Wieder-Atherton leaving a brasserie where we had dined together in Montparnasse. The excerpt stayed with me for a while. This prompted me to focus on Chantal’s sound work in her films and her very close collaboration with cellist, Sonia Wieder-Atherton with whom she made more than 20 films. And, since New York, Paris and Moscow were places the three of us had in common, I intertwined some of my images with hers.
Son Chant
Nikita Kino
Vivian Ostrovsky
Vivian Ostrovsky
The film is a travelogue of sorts. Ostrovsky’s personal family footage meets the archives of Soviet propaganda footage. 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.
Nikita Kino
Unsound
Vivian Ostrovsky
A Russian can say, “I hear the smell…” A maestro has a vision of what a symphony should sound like. In a silent film how can one make the spectator see the sound? A vivid and noisy assemblage of archival and contemporary imagery meditating on the past and presence of film audio.
Unsound
Work and Progress
Vivian Ostrovsky, Yann Beauvais
A trip to Russia by two filmmakers in 1990, forms the bulk of this twin-screen projection, finished some 9 years later; Their super-8 footage mixed in with archival material (and a sprinkling of the classics such as Vertov and Eisenstein).
Work and Progress
***
Vivian Ostrovsky
Sarah and Paul leave their native California once a year to eat their way through France. They test the Michelin guide’s recommendations for three-star restaurants (the top rating) and between meals still have time to do some wine tasting at the best cellars. The filmmaker follows them around in a second car.
***
Tatitude
Vivian Ostrovsky
A delightful update of Jacques Tati’s classic Les Vacances de M. Hulot (Mr. Hulot’s Holidays). Seagulls squawk, waves crash and swimmers cavort in endless summer days spent on the beach. TATITUDE suggests that sand, water and sun are the basic elements in a happy, carefree life, and maybe even the secret to eternal youth.
Tatitude
Wherever Was Never There
Vivian Ostrovsky
An intimate film made on the occasion of the 30th anniversary of Vivian Ostrovsky's father, Rehor Ostrovsky’s death. The film is pasted together using artifacts from and footage of places and situations that form a part of the everyday nature of traveling between large cities: the experience of constant travel and disrupted communications. Objects stand for stories from the road; family memories about traveling between countries and cultures remind us of the movement of history.
Wherever Was Never There
Cinexpérimentaux #3: Vivian Ostrovsky
Frédérique Devaux, Michel Amarger
Vivian Ostrovsky
Vivian Ostrovsky is a nomad film-maker, born in New York. Student in Brazil then in Paris, which takes its camera of continent in continent since 1980. Her work, in the border of the documentary and the experimental, touches the filmed journals and is interested in the individuals rather than in the masses, in the physical language, in the unusual of the situations and in the sensible editing of the images and the sounds.
Cinexpérimentaux #3: Vivian Ostrovsky
