Docs in Orbit / Masters Episode – Lynne Sachs – Part 2
In the second part of this two-part interview, Lynne Sachs discusses her latest feature length documentary film, FILM ABOUT A FATHER WHO.
2020
WRITING
2020
Docs in Orbit / Masters Episode – Lynne Sachs – Part 1
Lynne Sachs discusses feminist film theory, experimental filmmaking, and her collaborative approach in this two-part interview.
2020
Maysles: STILL/MOVING Poetry and Documentary Final Showcase
“In addition to demonstrating possibilities for collaborative art-making, these works reflect a mode of sustained intimacy through a moment of unprecedented distance.”
2020
Poet’s House: Language Is a Temptation – Readings from Bernadette Mayer’s “Memory”
Lynne Sachs reads from July 30th’s entry of Bernadette Mayer’s book “Memory”.
2020
“At Ease with Including Your Doubt” – Interview with Lynne Sachs on Ultra Dogme
Lynne Sachs discusses her body of work, the unpredictability of celluloid, and the use of language in her films.
2020
Il Manifesto: Lynne Sachs, a dialogue of images to question our certainties
Lynne Sachs discusses her work and process with Italian newspaper, Il Maifesto.
2020
Maysles Documentary Center Presents– STILL/MOVING: A Poetry & Documentary Workshop
A two-part, immersive poetry and documentary workshop, hosted by renowned artists and longtime collaborators, Lynne Sachs and Paolo Javier!
2020
Tennessee Literary Magazine Features a Poem from “Year by Year”
Chapter 16 – A Community of Tennessee Writers, Readers & Passersby features Lynne Sachs’ poem “2010” from “Year by Year”.
2020
Black Women artists: Self Realization Through Material and Method (Interviews with Howardena Pindell and Faith Ringgold) by Lynne Sachs
Published in 1983/84, this article chronicles the experiences and work of artists Howardena Pindell and Faith Ringgold as a lens into the conceptual and material processes of contemporary black women artists.
2020
My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World by Lynne Sachs
How do we negotiate the photographing of images that contain the body? What experiential, political or aesthetic contingencies do we bring to both the making and viewing of a cinema that contains the human form? If a body is different from our own—in terms of gender, skin color, or age—do we frame it differently? As […]
