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Press Reviews in French in Portuguese
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Contact www.vivianostrovsky.com info@vivianostrovsky.com Postal Address Vivian Ostrovsky 3 King Street Ny, Ny. 10012. USA Imprint Vivianostrovsky.com 2009 some rights reserved, CONCEPTION Vivian Ostrovsky, Anne Maniglier GD Andrés Castoldi IMAGES Vivian Ostrovsky
biography
index
Biography. Vivian Ostrovsky Films 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
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 Psychology (Institut de Psychologie).To make life less tedious, I ended up seeing 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 Carolyn Carlson). It was an expanded cinema /slide installation. 3
« 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.
These films have been shown in festivals worldwide (Toronto, Berlin, Locarno, Rotterdam, Tribeca, Viennale and others), in cinematheques and in art fairs such as the São Paulo Biennale and Arco, Madrid.
My films can be found in the following collections: M.O.M.A., NY / Centre Georges Pompidou, Paris / Freunde der Deutschen Kinemathek, Berlin / Forum des Images, Paris / Israel Film Archives, Jerusalem /French Ministry of Foreign Affairs for French Institutes worldwide.
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. 4
films
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 whenever possible.
TOP TEN STYLISTS 1981- 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, photographers and a whole armada of people prepare the show... The 10 designers are: Issey Miyake, Karl Lagerfeld, Angelo Tarlazzi,Tan Giudicelli, 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 BEACH 1983 – 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 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. Starring Gorbatcher and Arafat in cameo roles. BETA SP pal – DVD pal
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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 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. DVCAM pal - DVD pal
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EAT 1988 – 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 situations. 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 dancerchoreographer Mathilde Monnier, now the director of the National Choreographic Center of Montpellier., …..M.M.in MOTION exhibits a surrealist sensibility but the mood is playful and the movements full of quirky and ironic juxtapositions” (Film Society of Lincoln 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. BETA SP ntsc – DVD pal – BETA SP pal
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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. BETA SP pal – DVD pal.
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WORK AND PROGRESS 1999 - 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 twinscreen projection using their super 8 footage mixed in with archival 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 Ostrovsky, 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. BETA SP pal – BETA SP ntsc DVD pal 17
ICE/SEA 2005 -16mm – clr and b/w – 31mn. Jet Lag Prod. Dir: Vivian Ostrovsky, 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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TÉLÉPATTES 2007 – Cell-phone made film – 11mins. Jet Lag Prod. Dir: Vivian Ostrovsky, Edit: V. Ostrovsky, Ruti Gadish, Claude Mercier, Voices: Michel Foucault, Gilles Deleuze, Sarah Koffman, MarieHélène 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. Ostrovsky, 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. contextualizes 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 SHOT 2009 – 9 mins. Jet Lag Prod. Dir. Vivian Ostrovsky, Edit: V. Ostrovsky, 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 damsels 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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reviews
Chicago Tribune 1991. 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 melodramatic music add to the playful and engaging quality of her films. “Playfully voyeuristic, Ostrovsky catches her subject in the midst of their banal activities 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 tomorrow night, in the free showing of “M.M. in Motion”, a 46-minute film about 24
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 collections 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 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. Hence the film - episodic, fragmentary, impressionistic - captures the defining traits of a choreographer’s modus operandi. The resultant product is illuminating in ways that more
conventional documentaries scarcely can hope to be, providing a sense of the creative process that is truer to real life.
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.
Ostrovsky manipulates every aspect of film imagery - there are sequences in black-and-white, in color, in sepia tones, some speeded up- in a successful attempt to fuse film and choreographic aesthetics. Rehearsal sequences are intercut with performance footage. The choreographer’s thoughts are sometimes expressed explicitly, in directions to the dancers, and sometimes implied, as when we glimpse Monnier 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 choreography, much beholden to American models but very much its own in its emphasis on histrionics, dramatic contrasts and anatomical extremes.
Village Choices June 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, 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! 25
Chicago filmmakers April 11, 1991 Reelism, Repertory and revival by Bill Stamets
believed he had caught, in 1930, “the last twitchings of a society” that would “give you nausea and make you an accomplice in a revolutionary solution”.
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.
Instead, Ostrovsky -once an author of children’s books- serves up a bourgeois apology for aerobics by the seashore and weekends in the country. The recreation, if not the revolution, will be televised.
For a retrospective, the Pompidou Center called her films “mosaic journals”. 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”.
Libération du 17 nov 2005 Paris/ Berlin, champ d’expériences d’Elisabeth Lebovici
Editing with cartoonish music, she toys with sped-up shots and Candid Camera tactics, Shooting from a tourist’s vantage, she relishes in microscopic 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
…« En regardant le formidable ICE/SEA de Vivian 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 Salvador de Bahia à Recife et en Patagonie, en passant par la Camargue et la Bretagne, la GrandeMotte 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 . »…
Books AFEA 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
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 Tchernobyl survenu il y a vingt ans…” Marc Laumônier. 27
O Globo Online 16/6/2007 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- reabastecendo- 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.
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Embora se componham sobretudo de cenas documentais ( proprias e de arquivos), os curtas e médias-metragens de Vivian Ostrovsky não são docs no sentido estrito. Sua utilização inclina-se mais para o experimental, o humoristico e o poético. Em “Copacabana Beach” (1982), por exemplo, ela evidenciou o inusitado nas praticas corporais dos gimnastas da praia carioca. “Eat” (1988) alternava imagens de gente e de animais comendo. ”Uta Makura”(1995) reunia flagrantes 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 pessoais e coletivas.
Uma exceção de doc mais caracteristico (mas nunca convencional) é “M.M in Motion” (1992), sobre o trabalho da coreógrafa francesa Mathilde 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 programadora do festival de Cinema de Jerusalem (para a edição deste ano, 5 a 14 de julho, ela tenta fechar uma retrospectiva dos filmes restaurados 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 estrelado somente por bichos, para o Pocket Film Festival de Paris. Seus filmes circulam em mostras e festivais nos EUA e Europa.
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 brasileiros 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 investimento pessoal, registro, invenção e humor que caracteriza sua obra. O Estado de São Paolo 7-11-1989 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 29
fixa em imagens cotidianas que todos os olhos vêem, mas a decodificação bem-humorada disso nos põe diante de algo como « cenas que gostariamos de ver ». Partindo da cena banal, Vivian chega a colagens de sisoes e sons. Sua câmara super oito fragmenta o mundo em pedaços, ao mesmo tempo em que une o planeta ao não impor barreiras geograficas, passando naturalmente de um banheiro de boate europeu frequentado por um travesti ao calçadão de Copacabana. O som que Vivian coloca como parte fundamental 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 realizados 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 simplesmente 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 30
tipicamente brasileiro-interioranas, as cores apreendidas pelas câmaras fornecem o impacto suficiente para se encararem as obras quase como telas em movimento, numa animação sobretudo 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.