Paolo Javier is a poet who thinks like a filmmaker. I am a filmmaker who thinks like a poet. In Swerve, we’ve come up with our own kind of movie language, or at least a dialect that articulates how we observe the world together as two artists using images, sounds, and words.
Kristine Leschper wrote to me with a very intriguing proposition: create a short film in response to her song “Figure and I”. I knew that this deeply rhythmic two-minute song needed some kind of somatic imagery.
In a cinema letter to French director Jean Vigo, Lynne Sachs ponders the delicate resonances of his 1933 classic “Zero for Conduct” in which a group of school boys wages an anarchist rebellion against their authoritarian teachers.
This five-part retrospective offers a career-ranging survey of Sachs’s work.
Conscious of the strange simultaneous temporal landscape that only film can convey, we watch Maya in motion at each distinct age.
“A face crumbling blueness fragment building crag in fuchsia light is not space but a stroke a swim a brush indivisible from the eye that carves sight.”
“The Clapping” evokes the inside-out of our lives in May 2020, sheltering in place during Covid-19’s first wave
In 2020, Siglio Press brought her photos and her writing together for the first time in book form. In conjunction with Siglio, Poets House presented “Language is a Temptation” by inviting 31 poets to read from the work each day during the month of July, 2020. New York filmmaker and poet Lynne Sachs took this spark and ran with it …. all the way to Mayer’s childhood home in the Ridgewood neighborhood of Brooklyn
