Viva (II) (2007) User Reviews

Interesting if not Entirely Successful

[Mr_Bombdiggity · 6/10 · 15 April 2007]

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.

Stepford wife goes rogue

[londonsw17 · 6/10 · 6 January 2021]

I don't remember the 1970s being this bad. As I began to watch this, I thought "why?" Wooden or ham acting, twee soundtrack, garish clothing... and then, realising it's a parody, I began to embrace it. Leaving her mundane life of cooking and making cocktails for her husband, Barbi becomes Viva. In the style of Russ Meyer, her adventures include bad sex, nudism, drugs and a lesbian dalliance but always men are pursuing her. It's not a serious work and I admire Anna Biller's dedication to her art, having written, directed and starred in her oeuvre, plus baring all her charms for the camera, quite nicely too. I particularly liked the line of wigs worn by all and sundry, most looking as of made from polyester and looking through the credits I spotted "extra hair" which might explain how some of the cast were sporting what might have been merkins as these days everyone seems to want to look prepubescent and shaves their genital areas. If you like 70s style racy films, it's for you.

Not a Patch on The Love Witch

[derek-duerden · 5/10 · 11 April 2023]

If you are going to watch only one Anna Biller film, then I'd unreservedly recommend that instead of this. (Quite apart from anything else, Samantha Robinson is a proper and impressive actress - sadly something mainly absent here.)

Viva does however have its own kitsch charm - but if you are going to parody bad acting then it helps to look like it's deliberate. Here, the dialogue is mostly awful and delivered poorly, although there are some inventive moments such as the animation sequence, and the plot does sort-of hang together.

If you're an AB completist then you'll have seen this already, but even if not it's worth a look to see how she developed her style.

Anna Biller = Genius

[gonzorifficfilms · 17 May 2007]

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.

Nowhere Nearly as Good as The Love Witch

[thalassafischer · 6/10 · 13 January 2024]

Whomever called this satire a masterpiece of erotic cinema has got to be on some pretty hard drugs. Viva is very much a comedy with the kind of weird, stupid humor that can be hit or miss. Movies like Jim Hosking's An Evening with Beverly Luff Linn (2018) and Anna Biller's other feature film The Love Witch (2016) accomplished this with considerably superior skill, and are two of my favorite comedies.

Unfortunately Viva is to The Love Witch what The Greasy Strangler (2016) is to Beverly Luff Linn. The stupid is piled on so heavily that at times it's just boring or annoying. What saves Viva though are the expert stylistic settings and brilliant colors, along with dry inside jokes that will mainly be appreciated by Italian giallo and/or Hammer studio fans.

Anna Biller is a feminist film maker and I would go as far as to say Viva is also too subtle with feminist themes. As a director she improved considerably on both comic writing and clear messaging while maintaining her trademark neo-70s visual aesthetics with her later 2016 masterpiece.

Only for the very patient, or aficionados of early sexploitation film.

[a-sklad · 2/10 · 22 March 2008]

This film is really not for most movie goers. The pacing is extremely slow and the acting is robotic and two dimensional. It is the kind of film that you would expect to see playing in an art gallery where it would be appropriate to only watch ten minutes, and where you wouldn't have to sit for two hours waiting for a gripping storyline that's not going to materialize.

Fans of the genre can probably appreciate it as a parody (or may appreciate it for more complicated reasons) but it's unlikely to be worth your time if you're coming at it without the right background. Which would be most of us.

What I did appreciate about the film was the scene and decor, the primary colours, the furniture. It's perfectly staged to mimic some aspect of the 1970s, or 60s, although which aspect I'm not exactly sure, I'm tripping out of my area of knowledge here. But it's beautifully staged and it works as a series of individual scenes just as a full length film it is much too long.

Atrocious

[public-john10 · 1/10 · 19 November 2009]

Most of these comments are definitely by cast and crew, obviously. This movie is absolutely atrocious, and not in a way that's fun to watch. It's taking itself too seriously to be considered an 'homage' or 'send-up'. One gets the feeling that the actor/writer/director (and review writer) thinks she's making a populist exploitation film, however, even most exploitation films had an actual story. The acting is probably the most offensive thing, but once again, not so bad that it's fun to watch and poke fun at. It's just bad. Like, someone got all their out of work hack actor friends together, threw in some family members, and then pulled a few people off the street kind of bad. But then again, one can hardly blame them when they're being forced to say the most ridiculous lines in the history of people talking to each other. The one redeeming thing in this film is the art direction; the costumes, color, and even the film stock are reminiscent of the 70's in a pleasant way.

If you want to watch an actual 70's period movie with genuine camp, sex, and a reasonable story, watch "Beyond The Valley of the Dolls". If you want to burn your eyes out with bleach, then perhaps watch "Viva" instead.

Viva is much more than just another, "That Seventies Film"

[karl-349 · 10/10 · 13 May 2007]

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.

Mondo disappointing!!

[StewedScrewednTattooed · 3/10 · 19 March 2009]

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.

Turn On...Tune In.....Laugh Yourself Silly

[Seamus2829 · 8/10 · 5 December 2008]

Anna Biller's 'Viva' is two silly hours of campy,good fun. It attempts to satire late 1960's,early 1970's soft core pre-porn films (when they had wall to wall female nudity,but no actual graphic/explicit sexual intercourse depicted on screen). The acting seems to be lifted from early John Waters' films (Pink Flamingo's & even before). The set design,with it's use of pastel colours (as well as primary colours,as well)are a treat for the eye, as they seem to be lifted from period photo shoots of classic late 60's Playboy,as well as record sleeve covers from the late 1950's (especially the Martin Denny covers,with it's beautiful women & it's over saturated use of colour). Anna Biller,in addition to acting as the film's central female lead,Barbi,also wore several hats in the production of this campy period piece (she wrote,directed & edited the film,in addition to set design & even supervising a brief animation sequence,where Barbi is experiencing her first real orgasm, while on some kind of psychedelic drug).The plot concerns a young,suburban housewife who's loutish husband ignores,and eventually abandons her,only to leave her to experimenting with her new found sexual self,including swingers,hippies,etc. I guess if I have any real beef with this film, is the fact that it has several song & dance numbers that do little more than pad the film out to it's two hour (somewhat over long) running time. The song & dance numbers for me,could have been left on the cutting room floor which would have not hurt the film's integrity,one bit). Aside from that,don't go to this film expecting a dead serious Dogme like existential rant on how empty & shallow the human existence is. Just go & have some good clean (dirty)fun. No MPAA rating here,but has scads of both female & male full frontal nudity,sexual situations (both hetrosexual,as well as gay),and other adult material that would have landed this film it's dreaded 'X' rating back in the day,but would pull down little more than a R, these days.

Ego driven example on how to waste a lot of money

[mark-3976 · 2/10 · 24 April 2009]

I think most of the reviews previously entered on IMDb were placed by he cast crew or Anna Biller herself. This was the longest 120 minute film I have ever seen. Anna Biller seems to have some talent as a production designer but as an actor, director, writer or editor she is severely lacking. She seems to suffer from the often seen LA role as the spoiled daughter of a rich family who makes bad film and no one wants to tell her she is without talent.

This film was entered into dozens of film festivals and didn't win any awards, OK maybe one. I hope Anna will recognize her limitations and go back to painting.

No, Just NO! I've Watched Porn With Better Acting Than This!

[miltruiz506 · 1/10 · 7 July 2013]

I don't know what the bleep Anna Biller was trying to achieve, or whether or not she achieved it, and quite frankly, I don't care. The script is stilted, the acting is wooden, and I think it's done on purpose, for comedic effect, and yet it's not funny, it's not sexy, it's not interesting, and Anna Billers saggy tits in combination with her potbelly do not make up for the lack of plot in this piece of crap movie. Anna Biller has reportedly said that if film ceases to exist she will stop making movies. Please, people, let's all switch to digital. She has a production company, fercrying outloud! Someday, the courage of men may fail, and the bounds of fellowship might be broken; but let it not be this day! This day we fight against mediocrity in film!

"Viva" a sexploitation movie set in the 70's

[t_dy123 · 4/10 · 8 November 2007]

This was the first movie that I had watched from this genre, so I'm not knowledgeable enough to give a full, professional review as I am not a movie critic, producer, or director. I am a just a movie goer interested in enjoyable, quality films. Although the genre appears to be an interesting one, I was not impressed with the movie itself. There may be other more enjoyable movies out there in the same genre. Or for that matter, this movie could be one of the best in this genre, which may be an indication why these types of movies are not mentioned or talk about in the mainstream media.

I can express with great certainty that the editing could have been better as often there are instances when the screen goes dark for several seconds in between scenes, leaving the audience wondering what's next. However, it isn't a bad idea to experience something different, and this movie is definitely different from what we hear or see in the mainstream media.

The GONE WITH THE WIND of retro feminist sexploitation films.

[marshall crist · 9/10 · 14 May 2007]

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.

That was a swing and a miss...

[paul_haakonsen · 3/10 · 3 February 2022]

I stumbled upon the 2007 comedy "Viva" from writer and director Anna Biller here in 2022. I was only familiar with the movie from its title, but I actually didn't know anything about it. And I can't claim that I have ever had the urge to get to know more about the movie, otherwise I would have done so a long time ago and not wait 15 years to watch it.

But I had the opportunity to watch it in 2022, and so I did. And boy this movie was a swing and a miss in terms of entertaining me. First of all, I found the pacing of the movie insanely slow paced, and it felt very prolonged and moving ahead at a snail's pace. To make it even worse, then the fact that there was nothing funny about the movie, nor anything overly interesting happening, just happened to prolong the suffering and the ordeal that is "Viva".

The acting performances in "Viva" were wooden and rigid, if not actually downright abysmal and amateurish. It was cringeworthy to watch the actors and actresses stumble about here like beheaded chickens with no aim and direction. I sincerely hope that this was the aim of writer and director Anna Biller, otherwise it was just downright horrible.

I will say that the vibe of the movie was spot on, definitely capturing that tacky 1970s sensation and feel right on. So writer and director Anna Biller did do something right here. Lost of great props, sets, wardrobe, make-up and costumes. Just a shame that the movie's storyline failed to capture my interest or deliver much of any enjoyment for me.

"Viva" wasn't even remotely close to being a funny movie, and it utterly failed to tickle me in the right places. As such, I am rating "Viva" a more than generous three out of ten stars, and that is based on the 1970s feel that was spot on.

Masterpiece of Erotic Cinema

[maubreyhampton · 10/10 · 2 June 2007]

In VIVA, Anna Biller, who stars as well as writes and directs, achieves what many would consider highly improbable—a genuine sexploitation film that hearkens back to that genre's golden age of the seventies but is simultaneously an art film. Indeed, VIVA is so superbly crafted that it is sure to go down as a masterpiece of erotic cinema, alongside the likes of Metzger, Sarno, Oshima, Breillat and company. Biller has made a film that not only takes place in 1972, but is so painstakingly constructed that one feels it was made in 1972, only to be released this year from some "American International Pictures" styled vault.

If that weren't enough, Biller did the art direction and costumes. Funky wood paneling, avocado macramé, blue eye shadow, shag carpeting, rust Dacron leisure suits, Lee Majors/ Evil Knievel styled jumpsuits, orgies and shady photo studios—it's all here, but don't let all of the period accuracy fool you. Andrei Tarkovsky noted there are two kinds of filmmakers – those who try and (re)create reality and those who create their own worlds; Biller is clearly in the latter camp, and she has to create a world because that is the only way she can get at the truths about relations between men and women, desire, identity, and the ravages of history on individual life.

VIVA concerns the journey of a young married woman as she explores and in turn is tried by the sexual revolution. In the opening of the film the brunette Biller and her blonde sidekick cavort with each other and their respective husbands by a suburban swimming pool. While looking at Playboy, they pose for each other as much as for their husbands. I have never seen such natural eroticism in an American film. I have never seen such healthy erotic appetite between men and women on the screen. The wives enjoy porno—with their husbands in a group context without any hang-ups or condescension. There is no sense of dirtiness or shame, as if the figures in Biller's film occupy a libidinal utopia where repression had never been invented. The erotic energy bursts from the screen: for a moment anything seems possible with Eros unbound.

But Biller has much more than sex on her brain—it's all a setup with us in the audience as bait. Of course the pleasure can't last, as the heroine does go on a journey after all. Biller's strength is in the tonal shifts; one moment she can be playful and fun, and the next moment deathly serious.

It is to Biller's credit that her treatment of the sexual revolution is so evenhanded. Even as she celebrates the pleasures of that thorny shift in consciousness that we call a revolution she never lets us forget that it came at women's expense; that men often dictated the revolution's terms. And at a more ontological level, VIVA explores the problem of the contradictions between men's and women's innermost desires. In the end, VIVA is a shining paradox: artificial distillation of sexploitation and realistic portrayal of gender conflict, a traditional dramatic structure with closure that raises many questions, a fun, almost farcical sex film that hides an intellectual seriousness about history. The effect becomes something for everyone. --Mitch Hampton

Anna Biller is a Genius

[avenuesf · 9/10 · 5 March 2009]

I saw this movie this morning and I haven't been able to stop thinking about it all day. It was like watching a film made by Radley Metzger, Russ Meyer, and George Kuchar all rolled into one. It's a hilarious homage to the sixties/early seventies sexploitation pictures and Playboy philosophy, and despite the copious nudity and many references to sex, it's strangely one of the most innocent films I've seen in a long time. The performances, costumes and script as well as Ms. Biller's use of sets and color are mind-boggling and transform the movie into a camp masterpiece. Why did this go direct to video and not play the theater circuit? It would be perfect for midnight movie showings. I'm curious how she found funding for this film in this day and age and am eagerly looking forward to her next one. This movie is amazing!

A sexually frustrated housewife in the 70's decides to step out of her polyester and into a swingin' lifestyle.

[bijouflix · 10/10 · 7 May 2007]

VIVA is the first great feature from underground queen of the B's (and Bees if you've seen her work!) Anna Biller. Culminating in four long years of production, VIVA reminds of early studio John Waters efforts filtered through her own Strange Guignol style (wherein lurid set color and mannered acting replaces Grand Guignol's gaudy excess of violence). Many will not "get" the tone and acting styles in this era of Neo-Naturalism, but for those accustomed to having preconceptions gleefully overturned about what is "right and wrong" for a feature film, VIVA is not to be missed. Hightlights for me include: amazing, psychedelia-drenched sets and uber costumes that made me wish the 1970's had ever really achieved such suggested heightened self-awareness; acting done in the "Distanciated" mode advocated by Douglas Sirk but reinterpreted to new depths by Biller; a truly remarkable perf by Bridget Brno as Anna's best friend & living Barbie doll gone Bad Girl (but in a Good Way); and an animated orgasm sequence that is as sublime as it is subliminal. For those who want what is wanting, VIVA is your ticket to ride.

a unique moment in time

[christopher-underwood · 10/10 · 7 November 2015]

This film is so good yet I'm sure there will be many unable to truly enjoy it as I have (and will again) because of its daring and its honesty and to be honest its historical setting. Anna Biller has brilliantly and lovingly created an homage (with feminist overtones) to late 60s/early 70s sexploitation. She stars, a little uncomfortably, it has to be said, though this works for the film, and even disrobes for her art. The set designs, the art on the walls and even an animated sequence (brilliant) are all her own work and stunning it all is. This looks, sounds and feels like a product of the time and I can understand youngsters just finding it all funny but for me it is like stepping into a very knowing time capsule and entering a very thoughtful look as what appears so trivial. There is much nudity, much wooden acting, truck loads of bright and garish colours and lots of limp dialogue vaguely pontificating a world seemingly changing forever but in reality a speck, an aberration, a unique moment in time, perfectly captured. Enjoy if you dare!

Anna Biller is a genius!

[rosannax · 10/10 · 7 May 2007]

I see a lot of movies and Viva is way out in front of the herd. Naked star-directors should be given extra points but Anna Biller has nothing to make up for. This woman is a major talent in a sea of lackluster Sundance-want-to-be's. Viva VIVA! The level of humor in this Seventies send-up is way beyond the average lowbrow laughs one might expect from your typical film comedy. Sexual mores are tossed about by the characters in this little shaggy dog script much like the original foot soldiers of the Sexual Revolution fell on those Seventies "naughty bits" that were exposed for the world to see. Viva's unrequited need to lose herself repeatedly in her healing bubble bath really had me stamping my feet and fighting back tears.

Not just for the fun of it.

[srolivier2 · 10/10 · 16 May 2019]

You will definitely have fun. But not if you are expecting something safe and familiar. Viva is that rare discovery of something totally unexpected, challenging, and yet startlingly obvious. Go into it without expectations and let Anna Biller's intellect and talent stun you.

Beyond Brilliant

[noahveil-1 · 10/10 · 14 March 2009]

VIVA is so good that most will likely mistake it for an actual example of the stereotypical 70's genre sexploitation flick it so perfectly mimics. Nothing could be further from the truth. The real thing never looked so beautiful, or was so meticulously composed, or lovingly rendered. Daring, quirky, personal, utterly unique, the film transcends and surpasses the works it pretends to send up. Anna Biller's new and original voice, and incredible artistry make this an unforgettable feature length debut. If you can look past the blue eye shadow and filmy vintage negligees, you may discern a genuine aesthetic master. An amazing technical achievement, like watching a feminine Guy Madden photographing herself for a vintage centerfold pictorial. Neither period exploitation nor modern commercial multiplex filler, this film will no doubt baffle many, possibly most casual viewers.

a beautiful sting

[foolish-virgin · 10/10 · 22 November 2007]

This piece of cinema is breathtakingly beautiful. But not only skin-deep. Underneath the gorgeous visuals, music and overflowing humor in this film, I found its secret. Like the moon's reflection on the water. The breezes may shake and distort it. But it's always there, waiting to shine starkly when the waters are still at last. It is the reflected reality of my own struggle with understanding and knowing my own sexuality and identity as a woman in this world of men. It is shining with a heartbreaking sincerity and honesty I've never encountered before. Amid the struggle through much pleasure and so much more pain, its compassion tells me I'm not alone. An inspiring expression of Woman.

A gem I'm glad I came across

[JessicaDWillis · 10/10 · 9 April 2023]

I saw that Biller pulled influence from 1970s playboy magazines and the resulting culture and that is apparent. It works as a brilliant satire of not only that time period but also sadly of the one that we live in now to some extent. The desire to own, the sense entitlement to other people's bodies all kill the very energy the people seek in the first place. I absolutely love billers visual style and subject matter choices. My husband compared her to Lynch. Not as in a copy but in the willingness to be unapologetically bold and unique. I have to agree. I am a fan and will certainly be watching anything that she makes in the future.

my most favorite movie of 2007!

[contact-209-901205 · 10/10 · 10 November 2011]

I was introduced to VIVA from my friend at a screening event in the theater in LA. That was my first Anna Biller experience and since then I'm a huge fan of her works. After VIVA, I dug into her previous works including her short films "Three Examples of Myself as Queen" which I love so much! I highly recommend everyone to check out Anna's short films. She does everything from writing stories, designing costumes and sets, acting and directing whole things!? She is my favorite female film maker alive right now<3

p.s. my most favorite scene from VIVA was that orgy scene, which I think was a homage to the orgy scene from "Camille 2000" <3<3