Press and Conversations
- 2018 DizzyMess Traverse Vidéo
“…Cependant pour que film soit, le désordre doit s’organiser et le vertige de l’enfant du film de Truffaut répond à l’apesanteur d’un cosmonaute ; la tombée des arbres précède celle des dictateurs, l’écoulement des éléments obéit à une très précise organisation : la réitération des plans est partitionnelle.
Ainsi dans le jeu – avec ce pince-sans rire « I am sorry, I apologize » glissé subrepticement au cours du flot de DizzyMess – c’est la virtuosité d’une réalisatrice qui sait que tout élément du film est métonymique de son propos.”
Simone Dompeyre
Download full article as - 2017 Q&A session by Laura Mulvey Birkbeck London, 2017
- 2017 SightSound The year In...Obama Era Cinema.
“But elsewhere is always better” mentioned as one of the five top movies of 2016 by Joanna Hogg
Download full article as - 2013 Haaretz Ocean Bazar
“Come dive into the dark of an abandoned hangar in Jaffa and find yourselves inside a spray of waves splashing up against the grey walls, sunlight framing black shadows, birds diving and taking off towards the horizon, black and white stars spinning dizzyingly in the wind, and grainy images flickering within the frames.”
Download full article as - 2009 Sao Paulo TV Interview
Se for preciso uma definiçao para o trabalho de Vivian Ostrovsky, que seja cinema experimental.
Mas ela adverte que nao pretende provocar o costumeiros bocejos aos quais estao acostumados os espectadores dessa malfadada espécie de expressão artistica. - 2007 On Globo online
“Antes era uma Super 8. Agora é uma digital. O trabalho que faz se nutre amplamente de seu
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diario audivisual, que se intensifica nas muitas viagens..” - 2006 Libération Un nuage de mensongesDownload full article as
“…Arrêt sur nuage est un florilège décapant des propos tenus par les politiques, scientifiques et
journalistes lors de la catastrophe de Tchernobyl survenu il y a vingt ans…”
Par Marc Laumônier - 2006 Village Voice Creatures Features. Voice Choices
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, Miami, 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!”
Good-natured docs hop beaches and coif creatures
by Robert Wilonsky
Download full article as - 2005 Libération Paris/Berlin, champ d'expériences
“En regardant le formidable ICE/SEA de Vivian Ostrovsky, on comprend également qu’il ne suffit pas d’être touriste pour faire du cinéma….”
Elisabeth Lebovici et Annick Rivoire.
Download full article as - 2003 France Culture- NIKITA KINO Podcast
- 2000 Kunstmuseum Basel Conversation
- 1998 Tagesspiegel & Taz Berlin Delikatessen-Seltsamer Alltag
“Sie stammen von Vivian Ostrovsky, einer geborenen Globetrotterin. Schließlich kam sie als Tochter russischer und
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Tschechischer Eltern in New York zum Welt, ging in Rio de Janeiro zur Schule und studierte anschließend an der Sorbonne in Paris.
Dortgründete sie in den siebziger Jahren den feministischen. Filmverleih Ciné-Femmes, und von dort aus bereist si seit fünfzehn Jahren die Welt.” - 1997 Falter – Die Press Nouvelles de la zone du transit
Die Press
Stefan Grissemann,“L’art ne fait pas que parler, il fait aussi chanter. Qu’elle flâne dans les rues de Kyoto avec sa caméra super-8 ou qu’elle appuie sur le bouton dans le métro de New York, Vivian Ostrovsky fait chanter le monde. L’ironique écart vis-à-vis du home-movie ou du film touristique donne ses premiers signes sur la singulière bande-son de ses courts métrages.”
Download full article as - 1995 Washington Post M.M : All the Bright Moves
by Alan M. Kriegsman
Ostrovsky has been an enthusiast of Monnier’s dance creations since 1986, when she saw her inaction at the Avignon Festival.
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“M.M. in Motion”was four years in the making and draws upon Ostrovsky’s filming of six Monnier choreographies (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. - 1991 Chicago Tribune – REELISM
- 1989 O Estado de Sao Paulo O mundo en estilhaços de imagens
“Se for preciso uma definiçao para o trabalho de Vivian Ostrovsky, que seja cinema experiemental. Mas ela adverte que nao pretende provocar ocostumeiros bocejos aos quais estao acostumados os espectadores dessa malfadada espécie de expressao artistica. Vivian que naceu en Nova York, mas viveu no Rio de Janeiro desde os novemeses até concluir osestudos secundarios, diz que faz filmes para si mesma. Elase diverte ao fazê-los. Talvez porisso mesmo ela consiga divertir os espectadores. Seu olho se fixa em imagens cotidianas que tods os olhos vêem, mas a decodificaçao bem-humorada disso nos poe diante de algo como «cenas que gostariamos de ver “.
By Jim Joe
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