Vivian Ostrovsky

Born in New York, high school in Rio de Janeiro and university studies (psychology and film) at the Sorbonne in Paris: Vivian Ostrovsky's biography establishes the motif of 'continuous transit' that characterises her cinematic work. In
In the 1970s, she worked for Ciné-Femmes, a feminist film company. When she decided to make films, she continued her organisational activities for various film festivals, especially as curator for the Jerusalem Film Festival.

To a large extent the visual pleasure in her films lies in a transcontinental libertinage, here today and there tomorrow, always in motion. Lighthearted and playfully voyeuristic, she captures everyday - sometimes downright banal - scenes with her Super-8 camera and underlays them with diverse sound collages. On her travels, Ostrovsky collects a wealth of visual material and reduces many hours to ten minutes during editing. With a sense of humour, she searches for the inexhaustible amount of human expression and presents the "human comedy" in a rhythmic mosaic.
The soundtrack consists of pieces of music, film scores, noises and opera excerpts. Modernism opened the way to this aesthetic conglomerate, to this space without a centre or borders.

Program
Movie (V.O.) (F 1982, 16mm, 10 Min.)
Copacabana Beach (F 1983, 16mm, 10 Min.)
Allers-Venues (F 1984, 16mm, 15 Min.)
Ussa (F 1985, 16mm, 14 Min.)
Uta Makura (F 1995, 116mm, 20 Min.)
Public Domain (F 1996, 16mm, 13 Min.)
American International Pictures (F 1997, 16mm, 6 Min.)

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