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“Thought, Word, Image: Introduction to Lynne Sachs Retrospective” / Costa Rica International Film Festival


“Thought, Word, Image: Introduction to Lynne Sachs Retrospective”
Costa Rica International Festival of Cinema, 2022
Written by Fernando Chaves Espiniche, Artistic Director
Translated from Spanish by Maria C. Scharron

There are films that seem small but on screen they expand until we are overwhelmed. That is what happens with the images and words that Lynne Sachs pieces together: her films seem fragile, transparent, but they hit us with the force bestowed by the mind behind them.

Since the late 80s, this American artist has been building a group of work that expands and blurs the limits of fiction, documentary and the experimental expressions of cinema art. In more than 40 films, between feature films, short films, performances, web projects and installations, Sachs has demonstrated to be one of the most authentic voices of American experimental cinema. She provokes, challenges, and proposes.  Her movies give the impression of simplicity, which the emotional and intellectual weight betrays. Even when the films are straightforward, they raise deep questions that make them expand beyond their short duration.

But, what does someone like Lynne Sachs have to say about the Costa Rican and Central American context? Although her movies are intimate, Sachs’ films speak about what we call universal themes: home, memory, time, family, and cinema as a device to inquire into everything. It is her modest scale, (and we already mentioned that this should not distract us from her incisive glance), which lead us to think about other ways to approach cinema as producers, critics and spectators. Something is burning in these images of Sachs’, something that motivates us to imagine another way of narrating: the drive to film everything, transforming it all with voice, editing, thought and rhythm.

In Films About a Father Who (2020), which we had the pleasure to show in the 9th Cosa Rica International Festival de Cine, the director dissects her father’s presence with deep empathy and an objective eye. The debris of memory accumulates around a very complex figure. This challenges our understanding of him, but without leaving affection and tenderness behind. Personal history is made of small fragments recorded and filmed throughout the years, an accumulation of interactions and moments that reveal, even through their apparent banality, a compromise with the world and its inhabitants. By putting them together and letting the editing do its work and make them speak, these fragments expose other truths, they open fissures to other intimacies.

Sachs also sketches these family portraits through gestures: in Maya at 24 (2020), her daughter runs around her at ages 6, 16 and 24. Filmed in 16mm, it fuses the emotional landscapes of each age –ages, by the way, that are crucial in a woman’s life–, letting herself be surrounded by love and energy. Lynne is at the center of this gesture: this act also touches and affects her.

We also have to talk about the material nature of film itself, which brings us closer to, we could say, the manual process of transforming those images into a narrative-poem-gesture that summons us and invites us to get involved with these lives. The passage of time is inscribed in these films; the film is affected by light, movement, time and manipulation. Even in digital films we can still feel the presence of the artist’s touch, which is key. Sachs’ works are an invitation to dive deep into the vast archive of images and sounds that we generate, not only to dig into our childhood or hidden stories, but to find ourselves in the process.


It’s weird. With Sachs’ films, we end up feeling like we already know her, that we have talked to her for hours and hours. As in any conversation, one topic leads to another, images repeat, ideas come and go. But as every word turns, another angle reveals itself. In this sense, the power of the minimum inscribes Sachs’ work in a long history of women who have used the moving image as a tool to find themselves, to transform their bodies and their environments and register the beat of a century that learned to see itself through cinema. In Carolee, Barbara and Gunvor (2018), we witness the visits Lynne made to the pioneers of experimental cinema: Carolee Schneeman, Barbara Hammer, and Gunvor Nelson. Visits to the places they called home. They speak about their body and their body of work. They share pieces of their thoughts so we can participate in a different way with their films. Lynne Sachs’ films are an exercise in memory, an expanding memory. From the minimal to the immense, from gesture to revelation. Like glimpses, her movies invite us to be part of a poem: we are just another verse that rhymes with changes of direction, scattered dialogues, the movement of objects and the cuts that link moments that without Lynne’s diligent gaze we would never have found. At CRFIC we are thrilled to present this cinema of what is possible, of what is close. We want to converse with Lynne and her films, and we are fortunate she has opened that door for us.

Translated from the Spanish Original by Maria C. Scharron


“Pensamiento, palabra, imagen” de Fernando Chaves Espinach
Director Artístico, Costa Rica Festival International de Cine

Existe cierta clase de cine que parece pequeño
pero que, en la pantalla, se expande hasta
abrumarnos. Así sucede con las imágenes y
palabras que hilvana Lynne Sachs: parecen películas
frágiles, transparentes, pero nos golpean con
la contundencia que les confiere el profundo
pensamiento que las genera.
Desde finales de los años 80, esta cineasta
estadounidense ha estado construyendo una obra
que expande y confunde los límites de la ficción, el
documental y las expresiones experimentales del
arte cinematográfico. En más de 40 películas,
entre largometrajes y cortometrajes, así como
performances, proyectos web e instalaciones,
Sachs ha demostrado ser una de las voces más
auténticas del cine estadounidense experimental.
Provoca, desafía y propone. Sus películas aparentan
una sencillez que su carga emocional e
intelectual traiciona; incluso cuando son directas,
plantean hondas preguntas que las expanden más
allá de su breve duración.


Pero, ¿qué dice alguien como Lynne Sachs a un
contexto como el costarricense y centroamericano?
Incluso cuando son íntimas, las películas de
Sachs hablan de lo que llamamos temas “universales”:
la casa, la memoria, el tiempo, la familia y el
cine como dispositivo para indagar en todo
aquello. Asimismo, es en su modesta escala, que
como ya hemos dicho, no debe distraer de su
incisiva mirada, que nos mueve a pensar otras
formas de acercarnos al cine como realizadores,
críticos y espectadores. Algo arde en estas imágenes
de Sachs que nos impulsa a imaginarnos otra
forma de contar: es la voluntad de filmarlo todo y
transformarlo con la voz, la edición, el pensamiento,
el ritmo.


En Film About a Father Who (2020), que tuvimosel placer de mostrar en el 9CRFIC, la directoradisecciona la figura de su padre con profundaempatía y una mirada objetiva. Los escombros dela memoria se acumulan en torno a una figuracompleja que nos reta a comprenderlo, sin dejarde lado los momentos de cariño. La historia personalse conforma de pequeños fragmentos grabadosy filmados a lo largo de los años, una acumulaciónde interacciones e instantes que revelan, apesar de su aparente banalidad, un compromisocon el mundo y con sus habitantes. Al unirlos ydejar que la edición les permita hablar en conjunto,los fragmentos emanan otras verdades, abrengrietas a otras intimidades.

Sachs también esboza estos retratos familiarespor medio de los gestos: en Maya at 24 (2020), suhija corre a su alrededor a los 6, 16 y 24 años,filmada en 16mm, fusionando los paisajes emocionalesde cada edad –edades, por otra parte,cruciales en la vida de una mujer–, dejándoserodear por su amor y su energía. Lynne está en elcentro de ese gesto: el acto la trastoca a ellatambién.

Hay que hablar también de la materialidad del
filme mismo, que nos aproxima al proceso manual,
diríamos, de transformar estas imágenes en una
narrativa-poema-gesto que nos convoca y nos
invita a inmiscuirnos en estas vidas. En las películas
está inscrito el paso del tiempo; la cinta se deja
afectar por la luz, el movimiento, las horas y la
manipulación. También en lo digital se nota esta
“mano de la artista”, que es clave. La obra de
Sachs es una invitación a hundir las manos en el
vasto archivo de imágenes y sonidos que generamos,
no solo para excavar momentos de nuestra
niñez o historias ocultas, sino para encontrarnos
en ellas.


Es raro. Con el cine de Lynne Sachs uno siente quela conoce, que ha conversado con ella por largashoras. Como en cualquier charla así, un tema llevaa otro, se repiten imágenes, ideas van y vienen.Pero en cada giro de la palabra, se devela otroángulo posible. En ese sentido, ese poder de lomínimo inscribe la obra de Sachs en una historiaextensa de mujeres que han tomado la imagen enmovimiento como herramienta para encontrarse,transformar su cuerpo y su entorno, y registrar elpulso de un siglo que aprendió a mirarse en el cine. En Carolee, Barbara and Gunvor (2018), vemoslas visitas que Lynne hizo a Carolee Schneeman,Barbara Hammer y Gunvor Nelson, pioneras delcine experimental, en los lugares que han llamadohogar. Hablan de su cuerpo y de su obra. Noscomparten algunas piezas de su pensamientopara que participemos de otro modo en sus películas.

Así, el cine de Lynne Sachs es un ejercicio dememoria, de una memoria que se expande. De lomínimo a lo inmenso, del gesto a la revelación.Como en destellos, sus películas nos invitan aformar parte de un poema: somos un verso más,que rima con los giros, los diálogos sueltos, elmovimiento de los objetos y los cortes que unenmomentos que, sin la mirada acuciosa de Lynne,jamás se hubieran encontrado. En el CRFIC nosilusiona presentar este cine de lo posible y de locercano. Queremos conversar con Lynne y susfilmes, y para nuestra dicha, nos ha abierto lapuerta.

“Thought, Word, Image”
by Fernando Chaves Espinach
Artistic Director, Costa Rica International Film Festival 

“Task of the Translator” at Kortfilmfestivalen (Norway)

The translator’s task
45th Annual Kortfilmfestivalen curated by Birgitte Sigmundstad
June 8-12, 2022
https://kortfilmfestivalen.no/program-2022/program-2022-spesialprogram/oversetterens-oppgave/

Friday, June 10 – 14:00 Pan

The films in this program deal with remnants of war and conflict. The title – which is also the name of one of the films – is taken from Walter Benjamin’s essay from 1928 and points out that the filmmaker and artists become “translators” in that they make visible themes and stories that are both difficult and indescribable to the film’s language and media.

The Task of the Translator
Country: USA
Year: 2010
Length: 10 min
Directed by Lynne Sachs

Lynne Sachs pays tribute to Walter Benjamin’s essay “The Task of the Translator” through three studies of the human body. First, she listens to a doctor who in wartime reconstructs corpses. She then witnesses a group of academics who are confronted with the task of translating a newspaper article about Iraqi funeral rites into Latin. And finally, she lets us listen to a radio news report about human remains.


Red Rubber Boots
Country: Bosnia and Herzegovina
Year: 2000
Length: 18 min
Directed by: Yasmila Zbanic

A mother is looking for her children who were killed by the Serbian army in the civil war in Yugoslavia.


3 Logical Exits
Country: Denmark
Year: 2021
Length: 15 min
Directed by Mahdi Fleiffel

In the summer of 2019, the Palestinian-Danish director returns to the refugee camp Ain el-Helweh, which is the place where he grew up, and where he has previously filmed his friend in A Man Returned (2016) and A World Not Ours.


The Russell Tribunal
Original title: Russell Tribunal
Country: Sweden
Year: 2004
Length: 10 min
Directed by Staffan Lamm

During the Vietnam War, several intellectuals, including Simone de Beauvoir and Jean-Paul Sartre, set up a tribunal in Stockholm. The “trial” raised the question of whether the United States violated international law when it attacked North Vietnam. 


The Berlin Wall
Country: Norway
Year: 2008
Length: 24 min
Directed by Lars Laumann

Portrait of a woman who falls in love with and marries the Berlin Wall.

The Film Stage: Exclusive Trailer for Lynne Sachs/ Paolo Javier Collaboration “Swerve”

Exclusive Trailer for Lynne Sachs’ Swerve Brings Poetry to Elmhurst, Queens
By Jordan Raup
June 2, 2022
https://thefilmstage.com/exclusive-trailer-for-lynne-sachs-swerve-brings-poetry-to-elmhurst-queens/

Following her feature documentary Film About a Father Who, director Lynne Sachs has set her sights on a market and playground in Elmhurst, Queens withher new short Swerve, inspired by former poet laureate of Queens, Paolo Javier, and his Original Brown Boy poems, and fittingly world-premiering at NYC’s BAMcinemaFest later this month. We’re pleased to exclusively premiere the first trailer.

Wearing the tell-tale masks of our daunting now, five New York City performers (Emmy Catedral, ray ferriera, Paolo Javier, Jeff Preiss, Inney Prakash, and Juliana Sass) search for a meal at the Hong Kong Food Court while speaking in verse. The film itself transforms into an ars poetica/ cinematica, a meditation on writing and making images in the liminal space between a global pandemic and what might come next.

The film was inspired by Sachs’ reading of Paolo Javier’s sonnets in his new 2021 book O.B.B. aka The Original Brown Boy, and she started to hear them in her head, cinematically.  In her imagination, each of his 14 line poems became the vernacular expressions of people walking through a food market full of distinct restaurant stalls.  She re-watched Wong Kar-wai’s Happy Together, a favorite of both of theirs, and immediately thought of the Hong Kong Food Court in Elmhurst, Queens, a gathering spot for immigrant and working-class people from the neighborhood. The five performers were then invited to devour Paolo’s sonnets along with a meal from one of the market vendors.

See the exclusive trailer below. 

Swerve premieres at BAMcinemaFest on June 26 as part of Shorts Program 2.

Digital506 Announcement of Sachs Retrospective at Costa Rica Festival Internacional de Cine

Digital506- Costa Rica
May 31, 2022
https://digital506.com/preambulo-inicia-junio-con-las-proyecciones-de-la-retrospectiva-de-lynne-sachs/

ENGLISH TRANSLATION (FROM GOOGLE)

Preamble kicks off June with screenings of the Lynne Sachs Retrospective

Preamble kicks off June with the presentation of the Lynne Sachs Retrospective as a preview of the American filmmaker’s visit to the Costa Rica International Film Festival to be held June 9-18.

To kick off the billboard on Thursday, June 2, starting at 7:00 pm, an exhibition of Film About a Father Who (United States, 2020) .

From 1984 to 2019, Lynne Sachs filmed her father, a lively and innovative businessman. This documentary is the filmmaker’s attempt to understand the networks that connect a girl with her father and a woman with her brothers. The show is for ages 12 and up.

On Friday June 3 starting at 7:00 pm screening of short films. A selection of short films by Lynne Sachs that shows her aesthetic and thematic searches and the experimentation that characterizes a good part of her creations.

The program includes the works: DRAWN AND QUARTERED, STILL LIFE WITH WOMAN AND FOUR OBJECTS, FOLLOWING THE OBJECT TO ITS LOGICAL BEGINNING, THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS, PHOTOGRAPH OF WIND, SAME STREAM TWICE, 2012, CUADRO BY CUADRO , CAROLEE, BARBARA AND GUNVOR, A MONTH OF SINGLE FRAMES, E•PIS•TO•LAR•Y: LETTER TO JEAN VIGO and MAYA AT 24.

For Saturday, June 4, at 7:00 pm presentation of the documentary Tip of my Tongue . To celebrate her 50th birthday, filmmaker Lynne Sachs brings together other people, men and women, who have lived the exact same years but hail from places like Iran, Cuba, Australia, or the Lower East Side of Manhattan, but not Memphis, Tennessee, where Sachs grew up.

The documentary takes place with all these people discussing the most remarkable, strange and revealing moments of their lives, in a brazen and self-reflective examination of the way events outside our own domestic universe impact who we are.

SPANISH

Costa Rica Festival Internacional de Cine que se realizará del 9 al 18 de junio.

Para dar inicio a la cartelera el jueves 2 de junio a partir de las 7:00 p.m exhibición de Film About a Father Who (Estados Unidos, 2020).

Desde 1984 hasta 2019, Lynne Sachs filmó a su padre, un animado e innovador hombre de negocios. Este documental es el intento de la cineasta por entender las redes que conectan a una niña con su padre y a una mujer con sus hermanos. La función es para mayores de 12 años.

El viernes 3 de junio a partir de las 7:00 p.m. proyección de cortometrajes. Una selección de cortos de Lynne Sachs que muestra sus búsquedas estéticas, temáticas y la experimentación que caracteriza buena parte de sus creaciones.

La programación incluye las obras: DRAWN AND QUARTERED, STILL LIFE WITH WOMAN AND FOUR OBJECTS, FOLLOWING THE OBJECT TO ITS LOGICAL BEGINNING, THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS, PHOTOGRAPH OF WIND, SAME STREAM TWICE, 2012, CUADRO POR CUADRO, CAROLEE, BARBARA AND GUNVOR, A MONTH OF SINGLE FRAMES, E•PIS•TO•LAR•Y: LETTER TO JEAN VIGO y MAYA AT 24.

Para el sábado 4 de junio en función de 7:00 p.m. presentación del documental Tip of my Tongue . Para celebrar su cumpleaños 50, la cineasta Lynne Sachs reúne a otras personas, hombres y mujeres, que han vivido exactamente los mismos años pero que provienen de lugares como Irán, Cuba, Australia o el Lower East Side de Manhattan, pero no de Memphis, Tennessee, lugar donde creció Sachs.

El documental transcurre con todas estas personas discutiendo sobre los momentos más destacados, extraños y reveladores de sus vidas, en un examen descarado y autorreflexivo de la forma en que los eventos fuera de nuestro propio universo doméstico impactan quiénes somos.

AM Costa Rica Announces CRIFF Kick-Off with Lynne Sachs Retrospective

Costa Rica International Film Festival kicks off this week
AM Costa Rica
Published on Wednesday, June 8, 2022
By the A.M. Costa Rica staff
https://www.amcostarica.com/Costa%20Rica%20International%20Film%20Festival%20kicks%20off%20this%20week%20060822.html

– The retrospective category has been dedicated to the American filmmaker and poet Lynne Sachs –

Displaying independent films from 37 countries and in 15 different languages, the tenth edition of the Costa Rica International Film Festival begins on Thursday.

According to the Ministry of Culture, the festival will take place in two parts. First from June 9 to 18 and then from June 29 to Aug. 26.

The categories of the festival include retrospective films, panorama, young people and pioneers of cinema, among others.

The retrospective category has been dedicated to the American filmmaker and poet Lynne Sachs, who has made 37 films, some of which have won awards or have been included in retrospectives at major festivals.

Sachs’s 2019 film, “A Month of Single Frames,” made with and for Barbara Hammer, won the Grand Prize at the International Short Film Festival Oberhausen in 2020.

In 2021, both the Edison Film Festival and the Prismatic Ground Film Festival at the Maysles Documentary Center awarded Sachs for her body of work in the experimental and documentary fields.

Last year the Festival displayed “Film About a Father Who” (2020), directed by Sachs, which is defined as “a poignant and moving film,” by Fernando Chaves-Espinach, director of the festival. “(Sachs) mixes fiction, documentary, experimental film, performance among others,” he said.

“Sachs demonstrates the energy of contemporary cinema and the multiple forms that this art takes, from an intimate and reflective perspective that dialogues with certain forms of filmmaking in our context,” Chaves said.

The festival will be held in several movie theaters in San José, as well as in different communities of the country in rural areas so that more people can enjoy the event, the ministry said.

In San José, the films will be shown at Cine Magaly, the Film Center of the Ministry of Culture and the French Alliance of the France Embassy in Costa Rica.

In rural areas, the festival will be presented at the CCM movie theaters, located in San Ramón and San Carlos in Alajuela Province, in Jacó Beach in Puntarenas Province.

Also, CitiCinemas movie theaters in rural areas will present the festival in Grecia in Alajuela Province, Limón City in Limón Province and Paso Canoas in Puntarenas Province.

In addition, the festival will be presented at Multiplexes in Liberia, Guanacaste Province.

The jury is made up of directors, producers and people of the film industry from Costa Rica and other places such as Northern Ireland, the United Kingdom, Colombia, the Basque Country, Germany and Hungary.

The festival will award three mail films for their formal quality and content. In addition, the winning films will receive about $11,000 in prizes in the categories such as Best National Short; Best Costa Rican Feature Film, Best Central American and Caribbean Feature Film, among others.

People interested in participating in the festival can buy tickets, priced between $3 and $4, on the Festival weband Magaly Theater web.

Provincetown Magazine – “Barbara Hammer: Through the Lens of Lynne Sachs”


Barbara Hammer: Through the Lens of Lynne Sachs
Provincetown Magazine
June 8, 2022
by Rebecca M. Alvin
https://provincetownmagazine.com/index.php/2022/06/08/barbara-hammer-through-the-lens-of-lynne-sachs/

When filmmaker Barbara Hammer died from complications of ovarian cancer in 2019, the film world lost one of the most innovative filmmakers of its avant garde. In a career that spanned more than 50 years, Hammer had created an outstanding body of work, ranging from scores of experimental shorts, including Multiple Orgasms (1976), which was chosen to be preserved by the National Film Preservation Foundation with funding provided by the George Lucas Family Foundation, to the extraordinary Nitrate Kisses, a documentary about the hidden lives and legacies of lesbians that went on to win numerous accolades and is considered a landmark masterpiece of queer cinema, a first of its kind. Her work is at once provocative, playful, sensual, and formally inventive.

Although 10 years younger than Hammer, experimental documentary filmmaker Lynne Sachs hit her professional stride in the same circles with her in San Francisco in the 1980s, and the two developed a unique friendship that spanned several decades. Sachs, herself an innovator in creative nonfiction filmmaking, took a workshop taught by Hammer about optical printing, a process for creating special effects through specialized processing and techniques in celluloid film. Likewise, Hammer studied sound recording with Sachs. Both conceptually and practically, they were working in an alternative film universe compared with the mainstream, male-dominated one. Each of them operated like a one-woman band: filming, recording sound, editing, performing, directing, etc. each on her own, making deeply personal films that addressed larger societal issues from individual perspectives.

In that environment at that particular time, Sachs says, “The word documentary was not assumed to be a sort of template for an educational film or a diatribe on a political thesis, but it was a place to explore the subjectivity of reality. And that’s what drew us into working with issues that matter to us. Whether we were looking into issues around race or age, at the time we were doing it from our subjective place. We were both making films that refracted and played with the reality we were observing.”

As each woman’s career in cinema expanded, they maintained a creative connection, with talk of collaboration going back many years. But as Hammer was preparing to die, having lived with ovarian cancer for several years, she asked four filmmakers to complete films she had in the works. One of those filmmakers was Sachs, whom Hammer asked to complete a film from footage, sound, and journal entries created here in Provincetown while staying in one of the famed dune shacks in 1998. Sachs agreed and the resulting 14-minute film, A Month of Single Frames (2019), will be shown at AMP Gallery as part of a month-long celebration of Hammer’s life, work, and legacy, along with Sachs’ 2018 documentary about Hammer and two other filmmakers (Carolee Schneeman and Gunvor Nelson) called Carolee, Barbara & Gunvor, and one by Brydie O’Connor called Love, Barbara.

A Month of Single Frames is an extraordinarily beautiful meditation that combines sound and image from the 1998 dune shack stay with present-day recordings of Hammer reading from her journal and poetic on-screen text Sachs wrote. The process is transparent, with Sachs and Hammer discussing what to record as they record it, bringing us back to that idea of documentary as a construction and not mere “reality.” Closeups of a dragonfly, beach grass swaying in the breeze, stop-motion animation with snail shells are enveloped in the sounds of nighttime insect choirs, waves, and creaky floorboards. Hammer’s sense of wonder, what she describes as being “overwhelmed by the simplicity” comes through bright and clear through colored gel flag shadows in the sand with her narration describing the cinematic experimentation that continued throughout her life. Sachs weaves these elements together to create a portrait of an incredible film artist who, like many before her, found inspiration here in the ecology of the dunes.

While Hammer’s body of work is centered on female sexuality quite specifically, and Sachs often weaves in elements of her family history, (sometimes focusing entirely on it, such as in the film Film About a Father Who… about the complexity of her father and his problematic relationships), the two filmmakers share a feminist approach and an interest in film as language; they worked with its formal qualities, experimenting with techniques and devices unique to cinema, and they both imbue their films with the personal and specific, often in a documentary context. In an age where documentaries have become extremely popular but also extremely narrow in their formal conventions, there is often a misunderstanding of just how diverse documentary as a form is. Both fiction and documentary films convey truth, opinion, and fabrication by virtue of being creative works, and there is a long history of hybridity that distinguishes documentary from journalism. This doesn’t only include experimental artists like Sachs and Hammer, but also more mainstream documentarians like Werner Herzog and Agnes Varda whose works never attempt to hide the personal lens through which the subject matter is seen.

“It’s a vessel for thinking about how reality works and doesn’t work sometimes… It’s separate from journalists. We actually not only deal with reality, we also ask how that can become a truth, or it becomes a subjective hypothesis. It always comes with a subjectivity that’s, I think, really important—that who sees the reality is as important as what is seen. And so when we say, ‘through the lens,’ it’s, you know, through the lens of a woman or through the lens of a gay person or a Black person, and it shapes your experience of that reality,” explains Sachs.

But also, she says the process is about discovery as you go. “To engage with reality is also the possibility for play and a kind of dance with what you observe and how you then share it with your audience. I think Barbara taught us that. She loved to play with her materials. That was like her touch, and that’s where she found surprises and found out more about herself. I think in documentary you also have a chance for introspection which to me is really important.”

Barbara Hammer’s films, drawings, and other works are on view at AMP Gallery, 432 Commercial St., Provincetown, along with the films by Lynne Sachs and Brydie O’Connor through June 22. For more information call 646.298.9258 or visit artmarketprovincetown.com.


This Week’s Films at AMP Gallery
Films by Barbara Hammer

June 9 Place Mattes: 1987, 7:36 min, color, sound, 16 mm film on video.

June 11 Contribution to Light: 1968, 3:42 min, color, silent, Super 8mm film on HD video.

June 12 Multiple Orgasm: 1976, 5:32 min, color, silent, 16 mm film on HD video.

June 13 Dream Age: 1979, 10:58 min, color, sound, 16 mm film on HD video.

June 14 Pond and Waterfall: 1982, 15 min., color, silent, 16 mm film on video.

Film by Brydie O’Connor

June 8 & June 15 – 16  Love, Barbara (documentary; 15 min.)

Films by Lynne Sachs

June 10 & June 17 – 18  A Month of Single Frames (Made with and for Barbara Hammer; 14 min. color sound 2019)

NOTE: Films continue through late June. Visit artmarketprovincetown.com/happenings for a complete schedule.

Lynne Sachs: Opening the family album / La Casa Encendida Radio

Lynne Sachs: Opening the family album
La Casa Encendida de Fundación Madrid – La Casa Encendida Radio
June 6, 2022
https://radio.lacasaencendida.es/episodios/lynne-sachs-abriendo-el-album-familiar/

Lynne Sachs (USA, 1961), is a filmmaker, poet and artist based in New York. She has created genre-defying cinematic works through the use of hybrid forms and interdisciplinary collaboration, incorporating elements of essay film, collage, performance, documentary, and poetry. She taught the workshop “Opening the family album” and a session was dedicated to her in the contemporary cinema program.


Project
La Casa Encendida Radio is a sound experimentation platform that wants to explore the radio format from an artistic perspective, a space to share interests and concerns with a multitude of voices that resonate in our present and an archive of sounds from our recent history.

Exclusive Trailer for Lynne Sachs’ Swerve Brings Poetry to Elmhurst, Queens / The Film Stage

Exclusive Trailer for Lynne Sachs’ Swerve Brings Poetry to Elmhurst, Queens
The Film Stage
By Jordan Raup
June 2, 2022
https://thefilmstage.com/exclusive-trailer-for-lynne-sachs-swerve-brings-poetry-to-elmhurst-queens/

Following her feature documentary Film About a Father Who, director Lynne Sachs has set her sights on a market and playground in Elmhurst, Queens with her new short Swerve, inspired by former poet laureate of Queens, Paolo Javier, and his Original Brown Boy poems, and fittingly world-premiering at NYC’s BAMcinemaFest later this month. We’re pleased to exclusively premiere the first trailer.

Wearing the tell-tale masks of our daunting now, five New York City performers (Emmy Catedral, ray ferriera, Paolo Javier, Jeff Preiss, Inney Prakash, and Juliana Sass) search for a meal at the Hong Kong Food Court while speaking in verse. The film itself transforms into an ars poetica/ cinematica, a meditation on writing and making images in the liminal space between a global pandemic and what might come next.

The film was inspired by Sachs’ reading of Paolo Javier’s sonnets in his new 2021 book O.B.B. aka The Original Brown Boy, and she started to hear them in her head, cinematically.  In her imagination, each of his 14 line poems became the vernacular expressions of people walking through a food market full of distinct restaurant stalls.  She re-watched Wong Kar-wai’s Happy Together, a favorite of both of theirs, and immediately thought of the Hong Kong Food Court in Elmhurst, Queens, a gathering spot for immigrant and working-class people from the neighborhood. The five performers were then invited to devour Paolo’s sonnets along with a meal from one of the market vendors.

See the exclusive trailer below.

Delfino: “Costa Rica International Film Festival pays tribute to filmmaker Lynne Sachs”

Costa Rica International Film Festival pays tribute to filmmaker Lynne Sachs
June 1, 2022
By Valeria Navas Castillo
https://delfino.cr/2022/06/costa-rica-festival-internacional-de-cine-rinde-homenaje-a-la-cineasta-lynne-sachs

ENGLISH TRANSLATION FROM GOOGLE

The American filmmaker and poet Lynne Sachs will be the dedicatee of the tenth edition of the Costa Rica International Film Festival (CRFIC10), which will take place from June 9 to 18.

Sachs will visit the country during the festival, as he will be honored in the Retrospective section with a sample of 14 films of his authorship , characterized by a poetic, intimate, experimental and reflective tone with very personal themes.

The Sachs retrospective is made up of the films  Epistolary: Letter to Jean Vigo  (2021),   Maya at 24  (2021);  Film About a Father Who  (2020) ,  Carolee, Barbara & Gunvor  (2018),  Tip of my Tongue  (2017),  Same Stream Twice  (2012),  With the Wind in Her Hair  (2010),  Frame by Frame  (2009),  Photograph of The Wind  (2001),  The House of Silence: A Museum of False Facts  (1991),  Drawn and Quartered  (1987),  Following the Object to It’s Logical Beginning  (1987), and  Still Life with Woman and Four Objects (1986).

According to the artistic director of the festival, Fernando Chaves Espinach , “We are interested in Lynne Sachs’s visit because with her films, made with few resources, she tells us about a very particular form of expression that seems relevant to our context. We are proud to present different ways of making cinema and, above all, to share it in a workshop with filmmakers and visual artists who can learn from his methodology and his approaches to cinematographic art”.

In addition to the presentation of his works, the festival has scheduled that Sachs give a face-to-face tutorial to a group of people linked to Costa Rican cinematography.

The main venue for the 10CRFIC will be the Cine Magaly and it will have three more screening rooms in the capital of San José and five outside the Greater Metropolitan Area: San Ramón, San Carlos, Jacó, Grecia, Limón and Paso Canoas.


SPANISH

Costa Rica Festival Internacional de Cine rinde homenaje a la cineasta Lynne Sachs

La cineasta y poeta estadounidense Lynne Sachs será la dedicada de la décima edición del Costa Rica Festival Internacional de Cine (CRFIC10), que se llevará a cabo del 9 al 18 de junio.

Sachs visitará el país durante el festival, pues se le rendirá homenaje en la sección Retrospectiva con una muestra de 14 películas de su autoría, caracterizadas por un tono poético, intimista, experimental y reflexivo con temáticas muy personales.

La retrospectiva a Sachs está constituida por los filmes Epistolary: Letter to Jean Vigo (2021),  Maya at 24 (2021);  Film About a Father Who (2020)Carolee, Barbara & Gunvor (2018), Tip of my Tongue (2017), Same Stream Twice (2012), Con el viento en el pelo (2010), Cuadro por cuadro (2009), Photograph of The Wind (2001), The House of Silence: A Museum of False Facts (1991), Drawn and Quartered (1987), Following the Object to It’s Logical Beginning (1987) y Still Life with Woman and Four Objects (1986).

De acuerdo con el director artístico del festival, Fernando Chaves Espinach,“Nos interesa la visita de Lynne Sachs porque con su cine, hecho con pocos recursos, nos habla de una forma de expresión muy particular que nos parece relevante para nuestro contexto. Nos enorgullece presentar distintas maneras de hacer cine y, sobre todo, compartirlo en un taller con cineastas y artistas visuales que pueden aprender de su metodología y sus acercamientos al arte cinematográfico”.

Además de la presentación de sus obras, el festival ha programado que Sachs imparta una tutoría presencial a un grupo de personas vinculadas con la cinematografía costarricense.

La sede principal del 10CRFIC será el Cine Magaly y contará con tres salas de proyección más en la capital de San José y cinco fuera de la Gran Área Metropolitana: San Ramón, San Carlos, Jacó, Grecia, Limón y Paso Canoas.