Poveznice pristupačnosti

SON CHANT (2020)

SAD, United States 12min

Redatelj / Director

Vivian Ostrovsky

Sinopsis

Pregledavajući svoju kolekciju mini DV-a snimljenih tijekom posljednjeg desetljeća, ponovno sam otkrila zaboravljenu snimku Chantal Akerman i Sonie Wieder-Atherton, na kojoj odlaze iz restorana na Montparnasseu, gdje smo zajedno večerali. Razmišljala sam o toj sceni, i potakla me je se pozabavim Chantalinim zvučni radom u njezinim filmovima i njenom bliskom suradnjom s violončelisticom Sonijom Wieder-Atherton, s kojom je snimila više od 20 filmova. A budući da su New York, Pariz i Moskva bili gradovi zajednički svima nama, neke sam svoje slike ispreplela s njezinima.

Going through my mini DVs shot over the past decade, I rediscovered a forgotten night sequence of Chantal Akerman and Sonia Wieder-Atherton leaving a brasserie where we had dined together in Montparnasse. The excerpt stayed with me for a while. This prompted me to focus on Chantal’s sound work in her films and her very close collaboration with cellist, Sonia Wieder-Atherton with whom she made more than 20 films. And, since New York, Paris and Moscow were places the three of us had in common, I intertwined some of my images with hers.

Vivian Ostrovsky

Filmašica rođena u New Yorku 1945., djetinjstvo je provela u Rio de Janeiru. Diplomirala je psihologiju i filmske studije u Parizu. Sedamdesetih godina prošlog stoljeća suosniva Ciné-Femmes, organizaciju posvećenu distribuciji ženskih filmova. Od 1980. Vivian Ostrovsky režirala je više od dvadeset filmova, od kojih je većina snimljena u Super-8 formatu te često sadrže pronađene snimke i odlomke iz igranih, dokumentarnih ili kućnih filmova. Njezini filmovi bave se temom nepripadanja, a prema Yannu Beauvaisu smješteni su između “dnevničkih filmova” i “kolažnih filmova”. Radila je i na organizaciji Jeruzalemskog filmskog festivala. Njezini su radovi prikazani u brojnim retrospektivama i izložbama u muzejima i na festivalima diljem svijeta.

Filmmaker born in New York in 1945, spent her childhood in Rio de Janeiro, then pursued graduate studies in Paris in psychology and cinema. In the 1970s, she co-founded Ciné-Femmes, an organization dedicated to the distribution of women’s films. Since 1980 Vivian Ostrovsky has directed more than twenty films, most of them shot in Super-8, which often include found footage, excerpts from fiction, documentaries, or home movies. Her films exploit the theme of displacement, and are situated, according to Yann Beauvais, between “diary films” and “collage films”. She also worked on the organization of the Jerusalem Film Festival. Her work has been shown in numerous retrospectives and exhibitions in museums and festivals around the world.

Zemlje

SAD, United States