As a filmmaker and a long-term progressive activist, I have been thinking and talking about the connection between our media practice and the crisis that is our current political situation. From the environment to reproductive health to immigration, Donald Trump is trying to dismantle every aspect of the Obama legacy.
Gunvor Nelson was an extremely influential teacher of mine. Between 1985 and 1995 I lived in San Francisco and was deeply inspired and supported by other artists and curators in the Bay Area experimental film community including Trinh T. Minh-ha, Karen Holmes, Steve Anker, Kathy Geritz, Jeanne Finley, Craig Baldwin, and George Kuchar. It was in San Francisco that I met Mark Street my soulmate and collaborator. In 2015, I traveled to Sweden with Mark to visit and shoot film with Guvnor Nelson in her home studio, two decades after she had left the Bay Area.
Discovering Chantal Akerman’s films was such a vital part of my becoming a filmmaker. While I did not know her personally, I feel that I grew up with her as my guide for how to be in the world, as a woman filmmaker trying to articulate some aspect of my life and other women’s lives in the medium of film. I first saw Chantal’s films, along with those of Agnès Varda and Marguerite Duras, as a student in Paris in the 1980s.
When it was a reading series staged in laundromats around the country, The New Yorker described “Every Fold Matters” as a “collaborative, site-specific performance exploring the strange intimacy of the everyday ritual.” The series used performers to act out themes of gendered work, gentrification, and the intermittent weirdness of city life. Playwright and director Lizzie Olesker and filmmaker Lynne Sachs are reuniting to turn the live performance into a film. For Polarr, Emily von Hoffmann spoke with them to find out more.
Every Fold Matters by Lizzie Olesker and Lynne Sachs 1/28/15 ONE – worker (Ching) TWO – worker (Veraalba) THREE – customer (Tony) FOUR – Washing Society laundress (Jasmine) PROLOGUE Video montage of Chinese laundry worker Mr. Ho. In a laundromat. Customer looks into dryer and discovers his clothes are […]
I feel a closeness with writers, poets and painters, much more than with traditional film “directors.” We share a love of collage. In the kinds of films I make, there are fissures in terms of how something leads to something else. Relationships and associations aren’t fixed.
“Leandro Katz: Arrebatos, Diagonales y Ruptures” offers visitors the rare chance to immerse themselves in the numerous visual thought pieces the artist created during his 40 years as an Argentine in New York City as well as more recent work produced since Katz’s 2006 return to Buenos Aires.
Presented at: Les Encuentros del otro festival cine festival international de cine documental, Quito, Ecuador; RIDE Risk/Dare/ Experiment Lecture at Pratt Institute; UC Berkeley Rhetoric Department; University of Southern California Cinema Department; Boston Museum School “Art does not reproduce what we see; rather, it makes us see.” […]