“Family Affairs” at Other Cinema – Programmed by Craig Baldwin – Benefit Show for Humanity Now

Other Cinema 2022
Programmed by Craig Baldwin

Other Cinema shows films every Saturday at ATA Gallery, 992 Valencia (@ 21st). Showtime 8:00pm, admission* $7.

Lynne Sachs brings us Film About A Father Who, a feature length archeological DIG into her own internal movie archive. Over a period of 35 years between 1984 and 2019, filmmaker Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr. Film About A Father Whois her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, she allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal. A benefit show for Dana Sachs‘ Humanity Now project which has launched an emergency fund to assist Ukrainian refugees. *$10-$100

Lynne’s Film Strip Tease
performed at Other Cinema on April 9, 2022

Strip it all down and get into the raw material. Let me share with you the images I’ve excavated from this archaeological hollow.  Nowhere else on earth but here at 992 will you find so much material to send your artist brain a-soaring. I don’t come here to be inspired. I come to make my mind work so hard it’s dizzying. The cave below our feet holds us. it contains the way we see ourselves, the way we depict others, it guides us toward what we need to think about. It makes me sick, angry, depressed, humiliated, devastated and so painfully aware. It’s not the Internet. It’s not vast, intangible, omniscient, everywhere or nowhere. It’s something to hold, has weight, will decay, and destruct. I need to rush, don’t stop for even a minute to breathe because if I do it will all be gone, back into the soil. Since 1989, I’ve been walking down those stairs, opening those cans, spinning those reels in my search for all that I didn’t know I could find but Craig led me toward, with cans and clips under his arms, in his grip. Now in mine. I leave San Francisco, fly home to New York City and begin the exhilarating process of foisting those images and sounds into my movies. They take me where I never want to go and that’s the place I should be. A year or so later, I’ll come back to this place. On this trip, I won’t just visit the film cave below. I am here for  the theater above, basking in the glow of the screen where the treasures I found downstairs will dress up for the show, now pulled from their context, liberated from their intention or relevance, allowed to soar as free agents in their renaissance, their new collaged lives. It’s not the images we record with our cameras or the ones others take of us that reveal who we are in the world. The ultimate film striptease of the soul is the dance we play with those images we FIND, or find us, and gravitate towards, the few and the mighty  which will puncture our very being, until, at last, we can bleed.