An observation of humans' and animals' table manners as they gulp down breakfasts, lunches, cocktails and dinners in a variety of situations.

Originally a text in fragments, more or less biographical, of different characters. Crossed stories, mixed times, memories and inventions.  Coming from the voices encountered. They look like text like sisters. They are the voices of memory, the shadows cast by the characters, the voices of girls, the voices of indecision and evocation.  We begin with this work: to read, to record (in analog, it takes breath).  Here comes a place, a place found: the foliage of a vine in the South, crossed by the wind Mistral: a landscape.  Where are we? Where the boy dies, would we see what he sees? Where was the child playing in the neighborhood? At the heart of the narrative, at the heart of the written word?  That would happen.  Harvesting images, shifting gears, Multiplying the generations with the listening of the voices, even in memory sometimes.

Passages

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

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

Brooklyn boxers and boucing balls.Catalan dancers and Provençals dogs. The Douro, the Danube, Biarritz, Brazil. In super 8 colours and black and white sounds.

Public Domain

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

Funny collage of sea, sun and ice. A show from the beach with skiers, tigers, mermaids and much more.

Ice/Sea

Based on a correspondence between Brazilian artist Ione Saldanha and the filmmaker, this portrait was made for an exhibition at the MAM (Museum of Modern Art) in Rio de Janeiro. Ione Saldanha (1919-2001) was a contemporary of Lygia Clark, Sonia Delaunay, and Vieira da Silva, all of whom were her friends. She abandoned painting on canvas for more sculptural supports like batten and bamboos which she shaped with color. Matisse was constantly present in her mind and work for inspiration.