In a career that includes nearly 30 works, Lynne Sachs is best known for her experimental documentary and essay films. In this special screening, Sachs introduces two recent films that explore memory within a larger historical context.
The ongoing film series American Originals Now offers an opportunity for discussion with internationally recognized American filmmakers and a chance to share in their artistic practice through special screenings and conversations about their works in progress. Since the mid-1980s, Lynne Sachs has developed an impressive catalogue of essay films that draw on her interests in sound design, collage, and personal recollection. She investigates war-torn regions such as Israel, Bosnia, and Vietnam, always striving to work in the space between a community’s collective memory and her own subjective perceptions.
Street and Sachs, a Brooklyn filmmaking couple, negotiate the thin line between representation and abstraction in each second of this moving image extravaganza. Created in the grand tradition of the Cartesian and chromosomal construct, what looks like a tree can quickly turn into a train, a telephone pole or an angry bowl of soup, as our audience hangs on for dear life. Sachs makes theatrical gestures and tableaux using hands, toys, a plate of cherry pie, and a miniature of the Empire State Building. Street produces photochemically conjured flowers, fishing tackle, and shards of found film – – all flying by at a variety of speeds in the spirit of a Man Ray print.
Wednesday, May 25 at 7 PM
AFS Screening Room (1901 E. 51st St, Gate 2 by water tower)
$5 AFS Members & Students w/ Valid ID / $8 General Public
Q&A with Lynne Sachs via Skype, moderated by Austin experimental filmmaker/teacher Caroline Koebel
Boredom, murder, dress-up, dress-down, the underworld and the inner world. Angry lost resigned women navigate you through a hormonal roller coaster with this collection of documents of events and emotions. This is a biography of the shadowlands of the female psyche, with no cause or apology. Curated from the Film-Makers’ Cooperative collection by Jasmine Hirst and Katherine Bauer.
The avant-garde/experimental cinematic form reconfigures traditional narratives and personal experiences, particularly among local subcultures—such as East Village punk, Chinatown markets, Lower East Side rock and roll, and the downtown subversive art and performance scene—creating a parallel between constant evolution of the urban landscape and its inhabitants and the experimental form. We propose to feature avant-garde films from our collection that feature the changing urban landscapes and the people who inhabit them.
Praised by the New York Times as “one of the leading New York independent filmmakers,” Brooklyn-based artist Lynne Sachs has—in a career spanning over twenty years—woven together poetry, collage, painting, politics, layered sound design, and a myriad of cinematic formats to explore the intricate relationship between her personal observations and broader historical experiences.
“Naming an international film festival after a term for subjectivity is, in my mind, a radical stance. Rather than taking the more obvious city or country identified name, which brings attention to the community, the Punto de Vista festival celebrates a first person cinema based on the documentary practice of working with reality, that privileges the expression of ideas over the dissemination of information.”
Our cinematic relationship to Argentina began in 2007, when the Buenos Aires Festival Internacional de Cine Independiente (BAFICI) invited Lynne to show a retrospective of her films. During the one week she was in this film-crazy city, she met Pablo Marin and Leandro Listorti, two extraordinarily active Argentine experimental filmmakers with a commitment to making movies and screening and writing about their thriving alternative film community.