CURRENT

“On Writing the Film Essay” by Lynne Sachs

I feel a closeness to writers, poets and painters, much more than to traditional film directors. For one thing, we ciné experimenters are not bound by the plot-driven mechanics of cause and effect that, for me, often bring the transcendent experience of watching a movie to a grinding halt.

El Otro Ciné: “I Nearly Touch You” Review of “The Washing Society”

Hand touches skin. Skin touches skin. Clothing, too, touches skin. And there are still other hands that touch the clothing that touches the skin of others. This particular touch involves cleaning. It eradicates every residue, stain, odor and variety of dirt that attaches to that second skin we call clothing.

El Telégrafo (Quito, Ecuador) Reviews “The Washing Society”

The Washing Society takes a wistful and poetic stroll through various New York City Laundromats—some that have since gone out of business—and shows the experiences of the people who work there. Many of these people—the majority women—are badly paid, come from poor neighborhoods and foreign countries.

Kennebec Journal Reviews “The Washing Society”

Don’t be thrown by the title and classification. This is no dry, droning documentary. This is a slice of life, a celebration of humanity from the historic Atlanta washerwomen to the New York City workers of today in swirling brilliant color — color that comes from the flesh, hair and eyes of the workers, and the mountains of laundry they deal with every day, underwear, socks, sheets, shirts. One has to see it to believe it.

Flaherty Stories: Lynne Sachs

I was 23 years old when I attended my first Flaherty Seminar as a fellow in 1984.

I’d never taken a cinema studies class. I was just beginning to figure out how film could become the place to bring together my love for art and politics.

Tran Trang’s Blindness Series: My Letter to Helene Cixous

Dear Helene, …I begin by conveying to you the shock of what I have witnessed. These words are a translation of the visual experiences I had last night an early this morning. My words will be absolute, nothing left to interpretation. From my lash to your lobe.

agnès films Review of Carolee, Barbara and Gunvor

Carolee, Barbara and Gunvor is an exquisite dance shared by filmmakers and their literal and metaphorical lenses. It’s also a wonderful journey of nostalgia. The look of the 8mm and 16mm film paired with the subject matter easily takes the viewer back to the innovative first moments of women’s experimental filmmaking.

Filmoteca Española: Free Radicals Lynne Sachs

The extensive experimental and North American film tradition, which is interwoven with the history of documentary filmmaking and deeply rooted in political struggles, is full of names to be (re)discovered, in most cases women who continue the formal, poetic and political explorations of the avant-garde film, but broadening the space of what can be filmed and rewriting, in their own way, the old school feminist moto: “the personal is political”. Lynne Sachs’ case, friend and collaborator of the French filmmaker Chris Marker (she worked with him in Three Cheers for the Whale), is symptomatic of a certain kind of cinema that has been for years focusing on intimate spaces as places in which social issues can resonate.

Review of “Wind in Our Hair” in Ciné Maldito

By revealing flashing images of contemporary Buenos Aires, Lynne Sachs presents four girls who reminded me of Gummo’s Bunny Boy (Harmony Korine, USA, 1997), but instead of cars they have trains, and instead of pure decadence these girls project pure life.