Category Archives: SECTIONS

The Brooklyn Rail / DCTV’s Lynne Sachs: From the Outside In

The body of the body: examining the films of Lynne Sachs, inspired by a new retrospective.

https://brooklynrail.org/2024/07/film/DCTVs-Lynne-Sachs-From-the-Outside-In
July 1, 2024
By Hannah Bonner

In Barbara Hammer’s memoir HAMMER! Making Movies Out of Sex and Life she writes, “My films begin in what I call feeling images, an inseparable unity of emotion and thought/idea/image and internal bodily states of excitement.” Hammer’s desire to wed both emotion and thought, objects and bodies, could also be the epigraph to the experimental filmmaker and writer Lynne Sachs’s ongoing illustrious career. 2024 marks forty years since Sachs took her first video class at DCTV, where their June retrospective From the Outside In honors Sachs’s oeuvre of experimental shorts, cinepoems, and hybrid documentaries that explore feminism, family, New York City, labor, and “internal bodily states of excitement” with radical empathy and joy evinced in the act of their making. 

From the Outside In features twenty-four films from Sachs’s body of work spanning 1983 to 2024, as well as an artist talk and workshop on uniting poetry with cinema. This preoccupation with language and translation—or the ever ongoing interplay between the aural, textual, and visual—is always at the forefront of Sachs’s work. In the very first program, “Performing the Real,” her short Fossil (1986) opens with a series of bodies in medium close-up performing various repetitive terpsichorean movements. The VHS camera, handheld, slightly unsteady, traces their shadows and gestures against the room’s white walls. Sachs then cuts to video footage of women in Ubud, Bali, packing sand into their baskets at a river bank. Through juxtaposition, the dance is both an interpretation as well as a translation of the Indonesian women’s labor. As Sachs elaborates in a recent phone interview, the cut is “another type of line break” that allows “the juxtapositions between shots … to have [what we’ll call] free song.” 

The Washing Society (2018) expands upon the content and form of Fossil. Sachs initially began this projectwith her co-director/playwright Lizzie Olesker by informally interviewing various people who worked in laundromats to create the play Every Fold Matters, which was performed in laundromats all over New York. The composite of all those different conversations is also the content of her film. In between subjects candidly sharing their experiences of racism or overtime at work, The Washing Society also features actors delivering monologues about laundering or dancers bounding atop site specific washing machines with interpretive abandon. The Washing Society makes visible typically invisible labor both by conducting talking head interviews, as well as by lovingly translating folding gestures into emotive dance. The mix of registers (veering from participatory to performative modes of hybrid documentary), coupled with the chorus of voices, creates a powerful panoply of experiences on this historically marginalized, gendered, and racialized labor. 

Swerve concludes “Performing the Real’s” program by deftly (and movingly) uniting Sachs’s interests in translation, language, and text on screen. Inspired by Paolo Javier’s (Queens Poet Laureate 2010–14) sonnets in his 2021 book O.B.Ba.k.a. The Original Brown BoySwerve takes place in both an Asian food market and a playground in Queens. As various actors recite Javier’s lines, the camera tracks their movements closely like a confidant; at times, text layers the images, language equally worthy of sight as a face or a hand. Sachs further underscores her love of language in her short A Year in Notes and Numbers (2017) where the camera cuts from marginalia to to-do lists to vital signs in rhythmic succession. Sachs describes A Year as a “concise, autobiographical poem … made from the detritus. [It’s all] about the micro coming together.” Text typically delegated to the margins—or reserved solely for medical spheres—takes center frame. 

Elsewhere, like in E•pis•to•lar•y: Letter to Jean Vigo (2021), the letter becomes another format from which to aurally and textually examine the power and politics of images. E•pis•to•lar•y begins with the white text “Dear Jean” against a black screen, ominously overlaid with the chatter of children and what sounds like a crackling fire. Sachs then cuts to black-and-white footage of the January 6th rioters descending on the Capitol before cutting back to the black screen where white text now states, “I don’t believe that childhood is swathed in innocence.” Each member of this mob was once a child—but children are equally capable of inciting chaos as adults. Sachs subsequently cuts to footage from Peter Brook’s Lord of the Flies (1963) as two young children push a large rock from a cliff. When the rock begins its descent, Sachs immediately cuts back to the rioters overturning a barricade; the objects, as well as the sound bridge of the rock falling, links the two disparate source materials. The result is a deeply unsettling collage of mob mentality that activates the viewer not just intellectually, but sensorially due to the match on action cuts and sound bridges. This is a film where the power of images surpasses the power of the written word. Through disquieting visual juxtapositions, Sachs’s E•pis•to•lar•y returns us to Hammer’s “inseparable unity” of embodied violence and political ideology.

Yet, politics—and the politics of identity—are never removed from any of Sachs’s work. She is always already attuned to bodies (both her own and others’), and their multiplicities, gradations, and variations. As Audre Lorde wrote, “It is not our differences which separate women, but our reluctance to recognize those differences and to deal effectively with the distortions which have resulted from the ignoring and misnaming of those differences”; Sachs’s films live by Lorde’s tenet that difference is worthy of record—and celebration. Some films, like Your Day is My Night (2013), include both English and Chinese subtitles; others, like Tip of My Tongue / En la punta de mi lengua (2017), include Spanish subtitles on screen. Sachs does not always automatically assume her audiences are English speakers. Nor is she interested in documenting a single political or social experience. Nowhere is such a chorus of voices more personally rendered than in Film About a Father Who (2020). Filmed over thirty-five years, Sachs’s portrait of her charismatic yet unknowable father incorporates interviews with family members who provide loving, albeit troubling, insight into Ira Sachs Sr. as a father, husband, lover, and son. As additional facts come to light, Father reveals that sometimes the best story is told by multiple people, not just one.  

Contractions (2024)1, a much more performative documentary than Film About a Father Who, stages its bodies, rather than observes them. As an obstetrician and reproductive rights activist narrate their time working in an abortion clinic offscreen, various performers congregate outside a closed abortion clinic in Memphis, Tennessee in a long shot, their backs to the camera. The decision to obscure the faces of the performers is both to protect their privacy as well as to formally gesture to collective solidarity. Though the bodies range in age, race, and nationality, the choreography (and current political landscape) unite them in a post-Roe world, as does the cinematography which holds each and every body in the frame. Though we do not know every person’s individual story, Sachs’s camera does not discriminate. The long shot makes it possible that every person’s body, however anonymous, is seen.  

The reproductive politics of Contractions (2024) recalls Sachs’s 1991 film The House of Science: A Museum of False Facts, a more formally embodied polyphonic collage film about women’s bodies. Incorporating archival footage as well as her own home movies, The House of Science is a scintillating examination of sexuality and science’s gendered biases. Whereas Contractions requires (necessarily so) a level of remove due to the anonymity of the actors, The House of Science is much more personal due to Sachs’s incorporation of her own story, as well as varied footage. On a formal level, I would argue Sachs’s works achieve Hammer’s “internal states of bodily excitement” when they are not as performative or tightly choreographed, but more interested in the power of montage, graphic matches, and the interplay between language and sound, because it is not just the actors, but the medium itself which activates new ways of seeing. 

In The House of Science, Sachs’s diary chronicles receiving a diaphragm from “Dr. L.” in preparation for going to college, just as Esther Greenwood, in Sylvia Plath’s novel, receives a diaphragm to get out from under the bell jar’s oppressive dome. But Sachs’s doctor doesn’t tell her how to use it. Sachs’s text on screen elaborates: 

My memory of being a girl includes a “me” that is two. I am two bodies—the body of the body and the body of the mind. The body of the body was flaccid and forgotten. This was the body that was wet with dirty liquids, holes that wouldn’t close, full of smells and curdled milk. 

While Sachs may have once described her body as leaky and porous, full of “dirty liquids” and “smells,” her overall filmography affirms a heuristic approach to radical self-acceptance, not just of herself, but of others around her, including friends, family, and fellow artists like the aforementioned luminary Hammer. Through such ongoing generosity at both the level of content and form, Sachs’s films arouse ongoing intellectual and emotional compassion through myriad actors, materials, and mediums. 

  1. Contractions will begin streaming in perpetuity on the NYT OpDocs page as part of their coverage of the second anniversary of the Supreme Court’s Dobbs decision to end a woman’s constitutional right to an abortion.

Cafe Cinema: Cinema of the Unusual Curated and Hosted by Maya and Noa Street-Sachs 2007 / MoMA P.S.1

Café Cinema: Cinema of the Unusual
Matinee Movies: Mystery, Magic, and Marigolds Curated and Hosted by Maya and Noa Street-Sachs

Café Cinema: Cinema of the Unusual makes its debut at P.S.1 Contemporary Art Center with the film program Matinee Movies: Mystery, Magic, and Marigolds, curated by 12 year old and 10 year old Maya and Noa Street-Sachs, daughters of avant-garde filmmakers. Timed to coincide with Halloween, the curators have chosen a series of films from the Film-makers’ Cooperative archives that will wow, tickle, spook, and surprise a matinee audience of boys and girls who may or may not have encountered the splendor of the avant-garde cinema. The event will be held on Saturday, October 27 at 4:00 p.m.

Seven short films will be shown on 16mm film format: Gulls and Buoys (Robert Breer, 1972), a flipbook of fabulous drawings from nature; The Red Book (Janie Geiser, 1994), spectacular animated cut-outs of color and mysterious images; Little Red Riding Hood (Red Grooms, 1978), dramatic scenes of elaborate, colorful costumes; Earth Song of the Crickets (Stan Brakhage, 1999), a silent film of hand-painted abstraction with magical sparkles; Fragment of an Unidentified Horror Show (Danny Woodruff, 1993), a suspenseful masterpiece of eerie proportions; Evil of Dracula (Martha Colburn, 1998), an animated film of happy faces and long pointy teeth; Moshulu Holiday (George Kuchar, 1966), hilarious scenes of New York city life with a surprise ending!

In the true spirit of Halloween, children are encouraged to come in costume. Tricks and treats will be provided. The entire program will last approximately 48 minutes.

Café Cinema: Cinema of the Unusual is organized by M.M. Serra, Executive Director of the Film- makers’ Cooperative and produced by P.S.1 Public Programs. Following this extra special Halloween film program, the Café Cinema series will begin to explore different aspects of the New American Cinema (from 1960s onward), is inspired by a 1964 film program at the 55th Street Playhouse featuring Film- makers’ Cooperative members Ron Rice and Vernon Zimmerman. The series has adopted its name from the motto of the Playhouse – “America’s Only Cinema of the Unusual!” All of the films have been graciously provided by the Film-makers’ Cooperative.

Special thanks to GuS – Grown Up Soda, beverage sponsors of Café Cinema: Cinema of the Unusual This event is free with museum admission
Upcoming Café Cinema Events
December 1, 4 p.m. One Man Show with special guest filmmaker and video artist Jud Yalkut

“Struck Faceless and Yet, We Continue to Speak” / Talkhouse

https://www.talkhouse.com/struck-faceless-and-yet-we-continue-to-speak/
June 5, 2024
By Lynne Sachs

Maybe everyone has this feeling in some way. When something terrible happens in the world, we ask ourselves, “What can I do?” Sometimes, I feel hopeless and powerless and go on with my life. Other times, the despair so haunts me that I realize that I must respond in some way. I need my artistic practice to articulate how I am feeling, not so much as an act of persuasion but rather a witnessing.

In spring 2023, filmmaker Kristy Guevara-Flanagan, the head of documentary at UCLA, put out a national call to filmmakers around the country. She was searching for artists who were willing to look at the 2022 Dobbs decision that had overturned Roe v. Wade, the 1973 landmark Supreme Court decision legalizing abortion nationwide. In 21 states, women no longer had the right to end their pregnancies. Guevara-Flanagan hoped to create a collection of films which would reflect the post-Dobbs reality and its ripple effects. Specifically, she wanted to look at the impact of abortion clinic closures across the country. I was already asking myself what the role of my art-making practice might be in this heightened time of fear and chaos. Her summons to action landed in my consciousness at just the right moment.

Now a year later, our Abortion Clinic Film Collective has become a diverse group of six filmmakers. Using our own visual style, we recount the story of various clinics in states where a woman no longer has the right to an abortion. We observe and listen to activists, daughters, parents, teachers and medical providers from Arizona, Kentucky, North Dakota and Tennessee. Each of us investigates the myriad ways that women’s personal and professional lives have been affected by this seismic change in the American legal system. I’ve found a sense of solidarity and hope with these artists.

I traveled back to my hometown of Memphis, Tennessee, to begin the work on Contractions, my contribution to the collective. While I haven’t lived in Memphis for many years, my cousin Laura Goodman, a longtime activist in the local reproductive justice community, was able to help me get started. With her personal contacts and enthusiasm, we gathered a group of 14 Memphis activists – mostly women, but also a few male allies – to perform in front of the camera. From the first moment that we reached out to potential participants in the film, I made it clear that their presence would probably be different from any film they had seen before: there would be no faces on the screen.

If you don’t live in one of the 21 states where antipathy toward abortion rights is at the level of vitriol, it might be difficult for you to imagine what it’s really like to advocate for a woman’s right to choose in the state of Tennessee. Being in this film could pose risks to your reputation – affecting such vital aspects of your life as your job, your place in your religious community, and certainly your political future. If you need an untarnished name in town, you would probably not opt to be in this film. Promising everyone that their face would not appear in the finished film was liberating – for my “cast,” and for me. I am an experimental filmmaker, so beginning a project with these basic constraints actually gave me the artistic freedom to transform what appeared to be a documentary impulse into a choreographed, physically precise performance. I came to our set with drawings for each visual scene and asked all of the women to wear patient gowns. In this way, their presence on screen became stark, uniform, distinct only by the way that they carried their bodies and wore their hair.

I decided to bring New York cinematographer Sean Hanley, a dear friend and collaborator I’ve worked with for over a decade on my films Your Day is My Night (2013), Tip of My Tongue (2017), The Washing Society (2018) and Swerve (2022), with me to Memphis to shoot the film. As part of our preparation for the film, we looked at the work of artist, musician and choreographer Meredith Monk, specifically her astonishingly moving 1981 performance-based experimental documentary Ellis Island. In this film, Monk captures a haunting sense of place and trauma. I wanted to work with Sean in a similar way, using austere, dance-like gestures, a sharp attention to the confinement of the film frame, and a sense of a collective whole in which the singular becomes subsumed by the power of the group. I followed a taut dramaturgical impulse, directing my performers in a way that made them find strength in their shared experience. I was relieved to discover that asking each participant to wear a medical gown as their “costume” and only showing the backs of their heads released them from a self-consciousness that often comes with acting for the camera. Since I had chosen a parking lot outside a very well-known but now shuttered women’s health clinic, our location was simple but highly contested. We needed to work efficiently and very quickly, so I made storyboard drawings I could quickly show to Sean. Through his lens, we tried to evoke a dystopic, yet elegiac, feeling of anguish and collective pain.

On the morning of production, Emily Berisso, a co-producer in our support team, without telling me or anyone else on the crew, summoned 14 volunteer marshals and a paramedic to look out for our well-being during the shoot. These days, gathering together with kindred spirits to make a movie about abortion rights puts everyone involved in a precarious and, dare I say, vulnerable position. In retrospect, I do think it was wise to have an experienced, dedicated security team on call – sitting inside their cars, behind building windows, waiting for something they might deem “threatening” to happen. Luckily, it never did.

For the soundtrack of Contractions, I interviewed two women in my cousin Laura’s home the day after our production. Dr. Kimberly Looney is an obstetrician gynecologist who had years of experience performing abortions prior to the changes in the local laws. Until the fall of 2022, she was the Medical Director for Planned Parenthood of Tennessee and North Mississippi. The other woman, “Jane” – who uses this familiar pseudonym to protect herself and her network of advocates – drives pregnant women who want abortions on a nine-hour round trip, across two states to Carbondale, Illinois, where they are able to obtain the services they feel they need. Together, Dr. Looney and Jane bear witness to a troubled time in which women are losing their ability to control what happens to their own bodies. In addition to the two women’s voices, I recorded with our performers in Easley Studio, one of Memphis’ renowned rock & roll sound studios, which was offered to us free of charge. Standing in front of some of the best microphones the industry has to offer, each participant sang, hummed or simply verbally articulated their anguish over the situation they watch each and every day in the state of Tennessee and elsewhere around the country. Mixed in unison by Kevin T. Allen, their voices form an aural chorus that registers somatically in the soundtrack of the film, and is also available as a separate four-minute audio-only piece titled We Continue to Speak. By working with filmmaker Anthony Svatek on the editing, I tried to construct a rigorous formal engagement between these sounds and the images from the hot summer day in Memphis.

So what is the story of a 12-minute film like Contractions beyond its inception and production? What is the journey for a short art film that speaks to a vital, controversial issue of the day? The film had its U.S. premiere in March 2024 at the True / False Film Festival and is now playing at festivals around the world. Perhaps more significant for its place in the dialogue is the fact that The New York Times’ OpDocs series is streaming the film to a worldwide audience here. Issues around a woman’s constitutional right to control her own body can be reflected upon and maybe even discussed at home, in the office, in a car, on the beach, or wherever people stream content these days.

Making Contractions has already given me the chance to spend time with others in the reproductive justice movement. Through the film, I have engaged with people in the medical field, underground activists with a commitment to acts of nonviolent civil-disobedience film artists, and deeply committed volunteers. The experience of making Contractions has changed me. I am only beginning to discover how the film and our collective efforts will be experienced by audiences. I will smile if these moments of witnessing – whether in the theater or the living room – bring about introspection and recalibration.

Lynne Sachs (far left)with Dr. Looney, producers Emily Berisso and Laura Goodman and performers in her film Contractions at a screening in Memphis in May 2024.

THE WEEKEND WARRIOR Newsletter / From the Outside In

by Edward Douglas
June 6, 2024

https://edwarddouglas.substack.com/p/the-weekend-warrior-june-7-2024?utm_source=substack&publication_id=799402&post_id=145354620&utm_medium=email&utm_content=share&utm_campaign=email-share&triggerShare=true&isFreemail=false&r=bapy&triedRedirect=true

“Although there aren’t as many wide releases as there were last week, at least this week’s two offerings are being released into over 3,000 theaters, and hopefully one of them will break out and save us from the biggest bummer of a summer in recent memory…

I’d usually save this next bit for the Repertory section below, but I don’t often cover stuff out of the DCTV Firehouse, which is in my neighborhood, just maybe a ten-minute walk from where I live. Anyone who has read any incarnation of this column going back to 2001 probably knows how much I generally love the documentary genre, which the Firehouse specializes in. On Friday, they’re kicking off a new retrospective series called “Lynne Sachs: From the Outside In,” with probably the most comprehensive screening of the filmmaker’s work, running from Friday, June 7, through Tuesday, June 11. I haven’t had much of a chance to watch her films, though I have seen her 2020 film Film About a Father Who, which will screen with one of her more recent shorts, The Jitters, and she’ll be there for a QnA with some of her family. It’s a little tough breaking away to get over there this weekend, being that it’s also the opening weekend of Tribeca Festival, but I want to make sure that any doc enthusiasts reading this column are aware of the series and of the DCTV Firehouse.”

This Week in New York / From the Outside In

Lynne Sachs retrospective at DCTV features screenings, Q&As, and an interactive workshop.

by Mark Rifkin 

LYNNE SACHS: FROM THE OUTSIDE IN
DCTV Firehouse Cinema
87 Lafayette St.
June 7-11
212-966-4510
https://twi-ny.com/2024/06/06/lynne-sachs-from-the-outside-in/

Experimental filmmaker Lynne Sachs took her first video class at DCTV in 1984; she and DCTV Firehouse Cinema are celebrating this fortieth anniversary with “Lynne Sachs: From the Outside In,” a five-day retrospective with seven programs comprising two dozen of her works, from 1983’s Ladies Wear to 2024’s Contractions and the world premiere of We Continue to Speak, from the three-minute The Small Ones (2007) and The Jitters (2024) to the eighty-three-minute Tip of My Tongue (2017). Sachs will be at every program, participating in Q&As and an interactive workshop; among her special guests are Tom Day, Sam Green, Tabitha Jackson, Naeem Mohaiemen, Lizzie Olesker, Accra Shepp, and her brother Ira Sachs.

“I walked into Downtown Community TV (DCTV) in 1984 thinking I needed to take some classes on how to make a documentary film. I was twenty-two years old and open to any possibility, any guidance, and totally impressionable,” Sachs said in a statement. “From that moment on, I learned to challenge every conventional expectation about working with reality. As I continue to explore the connections between the body, the camera, and the materiality of film itself, I reflect on those early experiences that taught me to reflect upon my own relationship to the people, places, and events I continue to witness as a filmmaker.”

The Memphis-born, Brooklyn-based auteur is an open book in her films, melding the personal and the political. In the grainy Ladies Wear, she photographs Ira on the New York City subway as he applies polish to his nails and sneakers. In 2013’s Your Day Is My Night, she documents a group of Chinese immigrants crammed into a closetlike apartment in Chinatown, where they ponder the differences between their lives in America and their native country and wonder if they made the right choice in coming here; there’s a fascinating kind of intervention when a young Puerto Rican woman moves in with them. In The Small Ones, Sachs shares the story of her Hungarian cousin Sandor Lenard, who during WWII in Italy was tasked with “washing, measuring, and cementing the bones of American dead.” His straightforward narration is accompanied by abstract images of war and slow-motion home movies of children at a birthday party. In 2021’s Maya at 24, Sachs depicts her daughter, Maya, at ages six, sixteen, and twenty-four.

Sachs offers a unique perspective of 9/11 in Tornado (2002), her fingers ruffling through ripped paper that floated across to Brooklyn. In the seven-minute Swerve, artist and curator Emmy Catedral, blaqlatinx multidisciplinary artist ray ferreira, director and cinematographer Jeff Preiss, film curator and programmer Inney Prakash, and actor Juliana Sass recite excerpts from Pilipinx poet Paolo Javier’s O.B.B. in a Queens park; words occasionally appear on the screen, including “free emptiness,” “unknown thoroughfare,” and “hum your savage cabbage leaf.” Investigation of a Flame (2001) explores the true story of the Catonsville Nine through archival footage and new interviews, with one member decrying “the obscenity and the insanity” of the US government’s actions, “which are growing more and more obscene and insane.”

“I’ve been in awe of Lynne’s fearlessness and desire to create, make meaning, rip apart, and piece together,” DCTV Firehouse Cinema director of programming Dara Messinger said. “I see her as the epitome of an indelible artist who is driven by curiosity and empathy — not fame, industry demands, or commercial algorithms. And I appreciate her sincere gratitude to her collaborators and to DCTV, honorably looking back but always steps ahead. Good documentary filmmaking cannot happen in a vacuum.”

“I don’t believe that childhood is swathed in innocence,” Sachs writes in e•pis•to•lar•y: Letter to Jean Vigo (2021), which contains footage from January 6 and Peter Brook’s 1963 Lord of the Flies. In The Jitters (2024), she cavorts with her partner, Mark Street, and three pet frogs and a cat. She takes a revealing look at the patriarch of her seemingly ever-expanding family in Film About a Father Who (2020). In And Then We Marched (2017), Sachs speaks with Sophie D., her seven-year-old neighbor, over archival footage of suffragists and shots of the 2017 Women’s March for equality.

Sachs shares her real to-do lists in A Year in Notes and Numbers (2017) while tracking her cholesterol, bone density, weight, glucose level, platelet count, and total protein. In Carolee, Barbara and Gunvor (2018), she visits cutting-edge artists Carolee Schneemann in New Paltz, Barbara Hammer in New York City, and Gunvor Nelson in Sweden. In an essay Sachs wrote about the four-minute 1987 silent short Drawn and Quartered, depicting a naked man and woman divided into four frames, exploring the tacit nature of the human body, Sachs explained how she felt at the film’s San Francisco premiere: “Within those few painful minutes, the crowd went from absolute silence, to raucous laughter, and back to an exquisite quiet. I was shaking.” You can expect all that and more over these five days at DCTV; below is the full schedule.

The New York Times OpDocs / Contractions

June 18, 2024
By Lynne Sachs

https://www.nytimes.com/video/opinion/100000009438727/contractions.html

Tennessee Abortion Clinic Workers Speak Out About the State’s Near-Total Ban

In Memphis, a doctor and a volunteer driver contemplate
the discontinuation of abortion services at a women’s health clinic
two years after the overturning of Roe v. Wade.

I remember the hollowing sensation I felt on June 24, 2022, the day that the Supreme Court deemed that abortion was not a protected right under the U.S. Constitution. Everyone — on both sides of this debate — knew that women’s lives across the country were going to be drastically transformed. Since then, a lot of attention has been paid to the most heart-wrenching cases, but this decision affects all women’s bodily autonomy across the country.

I returned to my hometown, Memphis, to make a short film outside a building that once offered abortion services. In Tennessee abortion is banned, with no exception for rape and very limited medical exceptions that are being debated in state court.

I interviewed Dr. Kimberly Looney, an obstetrician-gynecologist and former medical officer for Planned Parenthood of Tennessee and North Mississippi, and a volunteer driver who had served as a patient escort for decades. The volunteer, whose name has been withheld to protect her privacy, now drives patients nine hours round trip to Carbondale, Ill., where they are able to have legal and safe abortions.

These women offer distinct perspectives on this radical transformation in American society. Together they speak to a time in U.S. history when women are wondering if they have been relegated to the status of second-class citizens. As Dr. Looney puts it in the film, “You basically, as a physician, had to start counseling your patients from a legal perspective and not a medical perspective.”

Lynne Sachs Commendation for Poetic Cinema / éphémère ~ London experimental film

https://thefamousjmc.com/%C3%A9ph%C3%A9m%C3%A8re

Step into the avant-garde realm of cinematic innovation at éphémère ~ London experimental film. We invite you to witness the ephemeral beauty of experimental cinema, where each frame is a brushstroke of creativity and every moment a fleeting masterpiece.

Lynne Sachs Commendation for Poetic Cinema: Awarded to films that exhibit a poetic and contemplative approach to cinema.


**Stan Brakhage Prize for Innovative Editing:** 
  *Anima 1-4* | Director: Vasco Diogo | Portugal

– **Dziga Vertov Honor for Experimental Documentary:** 
  *Maria’s Silence* | Director: Cesare Bedogne | Italy

– **Maya Deren Award for Visionary Cinematography:** 
  *Città Reale* | Director: Hing Tsang | UK

– **Chris Marker Tribute for Multimedia Storytelling:** 
  *Dear Heartbreak* | Director: Ffion Pritchard

– **Hollis Frampton Achievement in Conceptual Filmmaking:** 
  *Am Goat Fetus* | Director: Freddie Rupprecht | USA

– **Shirley Clarke Excellence in Experiential Cinema:** 
  *Red Bird* | Director: Henry McGrath | UK

– **Bruce Conner Award for Avant-Garde Animation:** 
  *Wish You Were Here* | Director: Shaun Clark | UK

– **Lynne Sachs Commendation for Poetic Cinema:** 
  *To My Love (Raakaalleni)* | Director: Aino Kontinen | Finland

– **Jonas Mekas Honour for Diary Film:** 
  *Strange Phenomena* | Director: Sarah Grice

– **Su Friedrich Vanguard Award for Personal Filmmaking:** 
  *TWO* | Director: Leah Bonaventura | UK

– **Peter Greenaway Honor for Experimental Production Design:** 
  *Occurrences of Questionable Significance* | Director: Dave Lojek | Poland

– **Chantal Akerman Tribute for Experimental Narrative:** 
  *Worry-Fear-Unease. The Triptych* | Director: Agrippina Meshcheryakova

– **Guy Maddin Prize for Surreal Cinematography:** 
  *Desasir* | Directors: Daisy Perez, Elizabeth Perez | Colombia

– **Agnes Varda Memorial for Intersectional Storytelling:** 
  *Threshold* | Director: Sofya Gollan | Australia

– **Bruce Baillie Commendation for Pioneering Sound Design:** 
  *Città Reale* | Director: Hing Tsang | UK

Not Reconciled / Lynne Sachs: From the Outside In

Alex Fields
June 7, 2024
https://notreconciled.substack.com/p/lynne-sachs-from-the-outside-in

For forty years, Lynne Sachs has produced adventurous work at the intersection of documentary, essay, and avant garde film. Though they vary greatly in form, all of her films seek novel ways of questioning dominant perceptions of gender, work, and artistic representation. A career-spanning retrospective of her work, From the Outside In, screens this weekend (June 7-11) at DCTV in New York City and includes approximately two dozen films, from the early 80s to brand new films.

The earliest of these films are interested in our gendered perception of the movements of human bodies. The strongest of these, Drawn and Quartered (1986), uses 8mm film stock in a 16mm projector to display a “split” screen of four frames on one reel of celluloid. The top and bottom rows are identical, but the left and right show difference scenes, initially with a man on the left and a woman on the right. The figures, both naked, engage in a series of ordinary activities: squatting and standing, speaking and gesturing. The quadruple frame, along with the film’s silence, create a choice and push the audience into awareness of where we direct our attention, including how we may interpret the man’s and woman’s body language differently despite their essential similarity.

Other early films employ different devices toward comparable ends. Still Life with Woman and Four Objects (1986) films a woman putting on a coat, peeling an avocado, and so on, but adds a soundtrack seemingly unrelated to the images. A voiceover reads what sounds like a screenplay–“Scene 1. Woman steps off curb and crosses street”–but these actions never occur on screen. Similarly, Fossil (1986) cuts back and forth between video of women performing modern dance and women in a Balinese village working along a river. Both films break down barriers between what we perceive to be scripted performances of art and what we perceive to be mundane performances of work.

Over the following decades, Sachs’s work expanded this interest in representation into an examination of scientific and medical literature. One of her most ambitious and complex works, The House of Science: A Museum of False Facts (1991) assembles a whirlwind collage of texts and images dealing with (pseudo)scientific accounts of women’s physiology and and women’s experience in medical contexts. Women’s efforts to speak for themselves–in poetic written memories or seemingly documentary audio records–are interspersed with supposed expertise speaking for and about them, from Renaissance art to images from science books and documentaries. The sheer variety of source material, combined with the fact that images and sound rarely match, means that the materials are never able to settle into a clear narrative, and instead are presented in their character as representations. The overall effect mimics something of the confusion of a lifetime of contradictions taught to women as demeaning frameworks for understanding their own bodies, with the clarity of lived experience struggling to emerge from among this morass. This is sometimes played as comedy, such as when the laughter of children is played over a patently stupid text describing women’s brains and criminal tendencies.

Questions of meaning and textual representation get a much darker and less playful treatment in The Task of the Translator (2010), named for Walter Benjamin’s essay of the same name. Sachs is arguably less concerned with the problems of translation between two written languages and more so with how one appropriately translates the horrors of war into a journalistic text or art work. In the film’s first section, the voice of a doctor describes the work he did during a war to preserve and present human remains while we watch footage of kids at play. In the second section, scholars sit around a table translating a horrifying article about burials in the Iraq War into Latin. In the third and final section, a radio report describes a woman’s effort to recover the remains of her husband who died in the war, while a laundry machine spins on screen. All of these segments pose an unanswerable question about how the meaning of these wartime texts can possibly be grasped by their intended audience living in an utterly different context.

In a very different way, A Month of Single Frames (2019) also deals with the idea of translation, this time between two artists. A posthumous collaboration between Sachs and Barbara Hammer, the film incorporates reels from an uncompleted 90s work by Hammer with new footage and audio recordings by Sachs. Hammer speaks through her own voice and through her work, and Sachs is implicitly in dialogue through her editing and her own footage. It’s partly a documentary, partly a completion of a once abandoned project, but its real magic is in the present tense interaction of these elements.

Sachs seems drawn to these ambiguous and open-ended forms, even in her more apparently conventional documentary work. Your Day Is My Night (2014) portrays residents in a Chinatown apartment who take turns using the same beds according to their different work shifts. The scenes are poignant, so much so that they begin to feel too perfect, raising the question of how scripted some of this might be, particularly when new characters arrive and introduce themselves without ever noticing the camera. Later in the film it becomes clear that the action is partly staged, even explicitly revealing the set as a literal stage. The film was created collaboratively with its actor-participants, who played versions of themselves and other actual interview subjects in both live and filmed performances, blurring the already soft lines between documentary reenactment and scripted fiction. The film itself emerges as only one document of a process which was, arguably, a more expansive art work in its own right. It therefore frames itself as a contingent and partial view, as interested in the political nature of representation and translated meaning as in the specificity of its subject, raising more questions than it attempts to answer.

See also this interview with Sachs published by my friends at Ultra Dogme.

Chris Marker: Vive la baleine / Friends and Collaborators

Vive la baleine / Mario Ruspoli

1972 – France – [30′ reduced to ?] 18′ – 35 mm – Color

After Mario Ruspoli’s Les hommes de la baleine (1956), with commentary written by Chris Marker, the two men decided to work together on a new film about cetacean fishing: Vive la baleine.
This time, however, there was no question of showing traditional sperm whaling. It’s purely and simply about denouncing an unacceptable massacre, that of the blue whales, the largest animal that has ever existed.As the 2004 La Rochelle Film Festival aptly summed it up, “for a part of humanity, the whale initially represented an essential means of survival. Then came industrialization, and with it big business. Whaling became a means of making a profit. The slaughter could begin. That’s the story told in this no-nonsense documentary.” Although today a moratorium prohibits whaling, and despite the fact that Japan, Iceland and Norway continue their exactions under scientific pretexts, the figures are there.

Indeed, the International Whaling Commission (IWC), founded in 1948, had set up a whaling management system that proved to be a total failure. “The conversion system known as the Blue Whale Unit (BWU), which establishes equivalence between the different baleen whale species according to the average quantity of oil that can be extracted from them (1 blue whale = 2 fin whales = 2.5 humpback whales = 6 Rudolph’s whales), as well as the establishment of a global quota for all whaling nations, led to the massacre of the largest whales and brought their populations to the brink of extinction. It wasn’t until the 1960s that country quotas were adopted, and in 1972 the Blue Whale Unit was abolished.“

Mario Ruspoli, always passionately involved in his projects, didn’t stop there. In addition to his film, he published a second book on the subject entitled Whale Men (1972), in reference to his first film of the same name (1956), which had been released shortly after his book In Search of the Sperm Whale (1955).
In this second opus, Ruspoli takes stock of the hunt, following the Stockholm Conference in June 1972, which called for a ten-year halt to whaling to allow cetaceans to renew themselves. He tells us, among other things, that in 1964, the peak of the massacre, 357 gunboats and 23 floating factories killed 33,001 cetaceans, including 372 blue whales, and that of the 150,000 blue whales alive in 1930, less than 1,000 remained in 1966, a massacre mainly due to the Norwegians.

In 2007, Icarus published a heavily revised English version, as Lynne Sachs, who worked actively on the translation with Chris Marker, tells us.

“Three years ago, Jon Miller, president of our mutual distributor Icarus Films, contacted me to see if I would be willing to assist Chris in the making of a new English version of his 1972 film Vive la Baleine, a passionate, collage-based essay film on the plight of the whales. Of course, I was honored and immediately said yes. For one whole year, Chris and I corresponded weekly as we re-wrote and updated the narration and I searched for a male and a female voice-over actor to read the two parts. He renamed the new 2007 version of his film Three cheers for the whale. It is distributed with other “bestiary” films he has made including The case of the grinning cat.

Be that as it may, Three Cheers for the Whale is an exemplary documentary in its didactic approach, as well as being a scathing pamphlet against the mercantilism of the fishing industry. It’s also worth noting the scarcity of documents concerning this film, about which little or nothing is known. In 2016, Argos Films and Éditions Montparnasse released a remarkable boxed set of Mario Ruspoli’s films, including Vive la baleine and Les hommes de la baleine, with an extensive, well-detailed booklet.

Finally, in the “Nota filmografica” inserted at the end of the volume (pp. 193-196) of Scene della terza guerra mondiale 1967-1977, the Italian version of Fonds de l’air est rouge, published in 1980, mention is made of a film entitled Vive la banlieue (Long Live the Suburbs), co-directed by Marker and Mario Maret in 1972. There’s no doubt that it’s actually Mario Ruspoli’s Vive la baleine.

Livre – 1972 – 148 p.

Coffret dvd – 2007

Coffret dvd – 2011

Générique (début, dans l’ordre d’apparition, complété par le site du Festival de La Rochelle)
Argos Films – 1972
Vive la baleine
baleines: Mario Ruspoli
vivats: Chris Marker
assistés par: Germaine et Mario Chiaselotti
[voix off:]
voix magistrale: [Louis] Casamayor
voix intérieure: Valérie Mayoux
voix musicale: Lalan [van Thienen]
générique: Timour Lam
[montage, son_et commentaire: Chris Marker]
[image: Michel Boschet]
[production: Argos Films]
Version anglaise (2007):
(sous titrage du générique début)
Three cheers for the whale
whales: Mario Ruspoli
cheers: Chris Marker
master voice: Leonard Lopate
interior voice: Emily Hoffman
(ajout générique de fin en anglais)
English version supervisor: Lynne Sachs
English sound mix: Bill Seery
original title drawings: Timour Lam
English titles: Kelly Spivey
English translation: Liza Oberman
A first run Icarus release