In reading MacCabe’s new short, anecdotal memoir, Studio: Remembering Chris Marker, we can easily glean that the passage of thoughts from-lip-to-ear-and-back-again between these two cerebral fellows left an indelible imprint on MacCabe.
Lynne Sachs’ latest film Tip of My Tongue, which has its world premiere as the festival’s closing night selection, is a beautiful, poetic collage of memory, history, poetry, and lived experience, in all its joys, sorrows, fears, hopes, triumphs, and tragedies.
My first viewing of Bruce Baillie’s Mass for the Dakota Sioux (1964) sent a shiver through my body and mind that ricochets to this very day.
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.
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.” […]
Alex: Since I was young I have always been curious about the world around me. I used to draw a lot, and make collages, but I never had an art education until I got to college where I decided to study photography without knowing why at the time. I didn’t get into filmmaking until much later, and I was never interested in conventional filmmaking- separation of roles, genres, storytelling.
