Watching her films, I waver between thinking of them as arising from the gaze of a child, enchanted by life’s pulse, or from a highly analytical mind that takes movement apart in order to understand it’s logic and subvert it. Quit probably both. Think Eadweard Muybridge working alongside Jacques Tati, informed by a feminist perspective, and you’ll have a sense of what’s going on in Ostrovsky’s cinema.
Ursula: Issue 15