SYNOPSICS
Viva (2007) is a English movie. Anna Biller has directed this movie. Anna Biller,Chad England,Bridget Brno,Jared Sanford are the starring of this movie. It was released in 2007. Viva (2007) is considered one of the best Comedy,Drama,Musical,Romance movie in India and around the world.
Barbi is a beautiful but blasé suburban housewife whose handsome mate, Rick, is more interested in his career than in quenching his wife's sensual thirsts. When up-and-coming actor Mark and his open-minded wife, Sheila, move in next door, Barbi discovers they're more than willing to help her find the thrills she's been missing. Before long, Mark and Sheila part company, and when Rick finds out about Barbi's extramarital dalliances, he walks out on her. Free to do as she pleases, Barbi changes her name to Viva and teams up with Sheila to join the front lines of the sexual revolution, enjoying assignations with a dizzying variety of partners, including hipster artist Clyde, psychedelic naturalist Elmer, experimental theater advocate Arthur, glamorous lesbian model Agnes, and sexually ambiguous hair stylist Sherman. But will Viva's appetite for the ecstatic lead her into dangerous and unexpected places?
Viva (2007) Trailers
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Viva (2007) Reviews
Viva is much more than just another, "That Seventies Film"
I caught this film at it's Pre - World Premiere at a press screening at the Rotterdam Film Festival back in January of this year and I really enjoyed it, mainly because I have never seen anything quite like it before and don't expect that I will likely ever see anything like it again. The first thing that swept me away was the set design / art direction: right from the get go I had the feeling I was back in the 70's except it wasn't through the usual played out typical Hollywood re-interpretation of what the seventies were supposed to have looked like, this film elicits a "Holy S*** the filmmakers must have gotten their hands on a warehouse full of actual items from the 70's" sensation (and apparently they did collect props for years). The films colors are absolutely dazzling, the look achieved in the film is almost as if the director was aiming to visually reproduce the feel of a Technicolor film as filtered through copious amounts of LSD. The characters the actors were portraying often came off as mindless automatons, sort of stereotypical parodies of American archetypes if you will, the performances were often wooden to the point of disbelief almost as if they were trying to overact in a very detached manner, it worked quite well and added to the overall sense of "disbelief" I had while watching this film. Some of the lines the actors deliver were so incredibly vapid yet delivered so deadpan that I could not control my laughter, sometimes the sets alone were enough to make me giggle. While the film certainly parodies B flicks on one level, on another it truly works as a piece of calculated and subversive art by reversing the usual misogynistic dynamics of the typical exploitation film: we see the repressed lead character Barbi transform into "Viva" who becomes self aware and empowered by discovering and reveling in her sexuality ( the animated orgasm scene is pretty awesome, apparently Anna Biller also animated this sequence! ) thus I venture to guess that Anna Biller may have very well created the first "post-feminist 70's era B flick exploitation homage film" - anyone know of anything else out there like this? I would definitely recommend this film to fans of John Waters work as well as anyone interested in feminist or subversive art, hell, Anna Biller's art direction alone warrants at least two viewings. All in all I really enjoyed the film, I do wish I had been just a little bit fresher for the screening as per film festival requirements I had slept about four hours the previous evening and was still a bit hungover. I hope I get the chance to see this film again because I would not hesitate to make some phone calls and round up a posse, Viva is definitely a film experience that would make for some excellent post film discussion over drinks. If I were to make a criticism about Viva It would be that I think the film could use a little more time in the cutting room to trim it up perhaps just a wee bit, given that I was watching a world premiere I will assume that what I saw was perhaps the "directors cut". Regardless, Viva really is an achievement on several levels and it should certainly solidify Anna Biller as one of the freshest new multi-talented directorial voices of today.
Interesting if not Entirely Successful
An affectionate send-up of 60's and 70's sexploitation schlock, Viva is the brainchild of star, writer, director, producer, editor Anna Biller. Word has it she also catered the film, drove the actors to set and held the boom while simultaneously acting in front of the camera. I'm only half kidding. But it illustrates a problem with the film which is that with one person assuming so many of the key creative roles there's the risk of a loss of objectivity in the creative process and fewer people to hold the tendency towards self-indulgence in check. Watching Viva, I couldn't help but feel it would have made a great short. There's about thirty minutes of interesting material here stretched out over a two hour running time. Once you get what the film is going for in its beginning act with the intentionally stilted performances, the mod set design, the garish color palette, Viva holds few surprises the rest of the way. That isn't to say the film is without its pleasures. Biller has the look of those films down pat - the aforementioned set design, the cinematography, the hair and makeup are completely evocative of the type of film-making Russ Meyer, Italian director Pasquale Campanile et al. made their names in back in the day. The performances, though, are uneven. Biller is fine as the titular character but some actors (notably the actor playing the hair dresser) do everything but look straight into the camera and wink directly at the audience. There's an art to acting in this kind of satire (see the Planet Terror portion of Grindhouse. All in all, an interesting addition to what seems to be an emerging trend of films that attempt to revive long dead genres apparently beginning with 2003's Down With Love and then gaining mainstream popularity with Robert Rodriguez's Sin City in 2005.
Anna Biller = Genius
Never before has a modern film so perfectly succeeded in capturing the look, style and feel of the 70's Sexploitation classics. Anna Biller's "Viva" is an explosion of color, humor and schlock done to the nines, besting attempts made by far bigger-budgeted flicks like "Austin Powers" and "Grindhouse" in truly recreating a bygone era. It's a true skin-comedy epic that delivers everything the gorgeous promotional art promises, and will no doubt become a cult classic among those with a true affinity for well-done homage. I watched this with some friends and there were times when we had to actually stop the DVD because we were laughing so hard! The prostitution and nudist camp scenes are simply unbelievable. Highly recommended.
The GONE WITH THE WIND of retro feminist sexploitation films.
The demented genius behind A VISIT FROM THE INCUBUS strikes again. Seriously, though, what is VIVA? Caught this about seven months ago and am still trying to take it all in. I loved this film because I never knew what was going to happen next, despite it following the model of '60's/'70's sexploitation films pretty closely. The first few minutes are simply exhilarating. A young housewife leafs through a skin mag in her bathtub, gets herself ready for the outside world, and blasts off in some bad-ass muscle car, just as the wonderful piece of vintage loungecore music on the soundtrack reaches a crescendo. (At least that's how I remember it.) Sublime; I'm at a loss to think of a better opening scene. (TOUCH OF EVIL, studio cut, perhaps? It's too close to call.) Then we settle in for the long haul. The housewife is hanging out with her friends, a married couple. Things get inappropriate. How far will it go? Exactly what kind of a movie is this? That's really the question that VIVA dares the viewer to answer. I'm still not sure. Satire or pornography? Happily, the answer is yes. The film is two hours. That would be hard to justify if it were just a slavish imitation of vintage softcore porn. Or just a spoof of same. Instead, it's almost a suspense film. How long has it been since an American film had me wondering who among the cast was going to disrobe? Who was going to disrobe NEXT? Who will have sex next? Will it even be consensual?! All those people constantly cruising each other. Predatory. With the color-soaked visual panache of Radley Metzger in Eastmancolor, but with a storyline from a Joe Sarno film where everyone thinks and talks about sex all the time, has weird, anonymous, masked sex all the time, and never enjoys it. Almost exactly like the adult world seemed to me in 1972. Plus deadly serious feminist self-reflexivity for the unwashed masses and nude dancers with their wieners bobbing hilariously for intellectuals like myself, courtesy of a nudist camp scene that is exactly like Blake Edwards WOULD have done it in A SHOT IN THE DARK, if Hollywood censorship had already relaxed, and he was on angel dust. And all the while, the deliciously arch Jared Sanford does his best to act dozens of naked people off the screen. Two hours was barely enough. Bring on the 70mm IMAX release, the three-disc DVD special edition with the signed and numbered lithographs, and the "Vote for Viva" t-shirts in every trendy mall novelty store.
Mondo disappointing!!
I can't believe people liked this movie!!! And believe me I'm not ignorant, I watch A lot of exploitation movies and film in general. Although this movie was meant as an homage, it seriously missed the mark. I think that it is such a rare thing when the whole 'directed by, produced, written, costumed and starring..' gimmick works and it only works when that person can act AND write (in my opinion she couldn't do either). There's a big difference between doing a send-off and making fun of the genre. The whole movie seemed like a giant 'stroke-fest' (like someone masturbating on film: solely for their own enjoyment and ego) where it was no accident that anyone with acting talent (or a better figure) were given minimal parts. Anna Biller cannot act- she's doing a really bad job of pretending to be a bad actor. (you know what they say; it takes a smart person to play dumb) AND please tell me someone else noticed the ugly faces she was making the ENTIRE movie?! That girl needs to spend some time in front of a mirror, practicing not doing that ever again. I did enjoy the orgy scene and the animation. I think if the movie were starring Robbin Ryan and Bridget Brno, it would have made for much better cinema. I may be starving for cinematic magic lately but, I'm not desperate enough to settle for less than fantastic. The musical numbers were sad and skimpy with the exception of Bridget Brno song in the bathtub. The 'two little girls from the suburbs' bugged me in a major way considering Viva couldn't touch Gentleman Prefer Blondes with a 100ft pole. The sets were good for the most part though inconsistent, as were the style and overall appearance of the film (sometimes it was bright and technicolor and sometimes muted.) Overall, I was just disappointed at what appeared to be a fantastic new movie but, ended up looking like a school project at times. That's what comes of thinking exploitation films look easy to make.