Category Archives: SECTIONS

For Life Against the War, Again

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” A CINEMA FOR PEACE!  FOR LIFE, AGAINGST THE WAR … AGAIN!”         78 min. DVD 2007
Curator: Lynne Sachs

“In 1967, with the Vietnam War escalating wildly, an invitation was issued to filmmakers to create works running under three minutes in protest against the accumulating carnage. The original organizers chose the rubric For Life, Against the War, and eventually compiled sixty films from the likes of Robert Breer, Shirley Clarke, Storm De Hirsch, Ken Jacobs, Larry Jordan, Jonas Mekas, Stan Vanderbeek, and many others. Now, decades later, an invitation to protest yet another war seemed sadly urgent, inspiring filmmaker Lynne Sachs to ring the clarion once “. . . Again.” The response was overwhelming, with submissions from several generations of artists unified by a singular disgust for the war in Iraq and the foreign policy that perpetuates it. Compiled with works from the overtly angry to the formally forceful, For Life, Against the War boldly announces that artists can take a stand, again and again.”  — Steve Seid, Curator, Pacific Film Archive, Berkeley Art Museum

Filmmaker Participants on DVD: Kevin Barry, Bosko Blagojevic, Elle Burchill, Jim Costanzo, Bradley Eros, Jeanne Finley, Martha Gorzycki, Alfred Guzzetti, Barbara Hammer, Ken Jacobs, Douglas Katelus, Lynn Marie Kirby, Ernie Larsen, David Leitner, Les Leveque, Cynthia Madansky, Rohesia Hamilton Metcalfe, Sheri Milner, John Muse, Martha Rosler, Lynne Sachs, MM Serra, Jeff Silva, Jeffrey Skoller, Mark Street, Cara Weiner, Lili White, Artemis Willis.

Filmmakers Cooperative  www.film-makerscoop.com   212 267 5665
108 Leonard Street, the Clocktower Bldg., 13th Fl. New York, NY 10013
NTSC DVD  TRT:  88 min.

Film-makers’Coop Executive Director: MM Serra

The Village Voice
Film Review
Pro-Life
Artists return to the Vietnam protest model with For Life Against the War . . . Again
by Ed Halter

“Iraq is not Vietnam, as the Bush administration and other Republicans have generously taken pains to remind us over the last half decade, but good luck trying to convince today’s artists of that. Not the kind of artists typically touted at white-shoe galleries, of course, too busy creating precious objects for clueless investors: Far more potent demonstrations of protest and disgust emerge from the rag-tag networks of micro-budgeted experimental filmmakers. With little or no market for experimental filmmaking, the scene consists of only the most devoted individuals, with nothing to lose from saying whatever they wish. The art they create can thereby be rough or polished, face-slappingly blunt or poetically subtle, stridently collectivist or stewed in lonely isolation. For Life Against the War . . . Again, a recent omnibus produced in response to Iraq, includes all these extremes, but nevertheless coalesces into a potent time capsule of how today’s war has churned our inner lives.

For Life updates a concept first enacted in 1967, at the height of the previous debacle. Then, an event called The Week of Angry Art asked 60 filmmakers to make 16mm works of three minutes or less in response to the war in Vietnam; participants included a collection of now-canonical figures such as Jonas Mekas, Robert Breer, and Shirley Clarke, as well as less well-remembered names. Last year, avant-garde film distributor The Film-Maker’s Co-op issued a similar open call for new works about today’s war, resulting in a program of 25 video shorts; both the 1967 and 2007 editions screen at Anthology this week.

A number of the newer videos look to past conflicts as a means of understanding the present: Jeffrey Skoller shoots two-and-a-half unedited minutes of a busy Hanoi street, juxtaposed to a prophetic poem by Ho Chi Minh; Bosko Blagojevic contemplates growing up in the U.S. during the Balkan wars; Lynne Sachs’s The Small Ones remembers her Hungarian cousin, a doctor tasked with reconstructing the bones of American soldiers killed in World War II. Other selections groove on expressive abstraction: Les LeVeque’s nervy STOP THE WAR strobes variations of those three words set to radically altered audio clips of protest chants, while Mark Street contributes a silent flutter of red flowers pressed against 35mm film. Martha Rosler skews patriotism by taping a creepy musical soldier doll blurting “God Bless America,” then revealing its prosthetic-style mechanical leg; M. M. Serra sics her cats on a dopey-faced George Bush toy. But sometimes the crudest are actually the most effective: Witness Jim Costanzo’s The Scream: 21st Century Edition, which blue-screens the artist yelling in pain over news footage of Bush speeches and Baghdad shock-and-awe. Three decades from now, when future media archivists try to understand what it was like for sane Americans to experience the war, Costanzo’s video will remain an effective and emotional artifact.”

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For Life Against the War Again!
DVD – TRT: 88 minutes

List of Films in Order:

1. The Scream: 21st Century Edition     Jim Costanzo
As in the Edvard Munch painting, the artist expresses anger and frustration at America’s illegal war and the attack on our civil liberties. (3 min.)

2. PSA # 11 Fallout     Cynthia Madansky
This public service announcement is part of a series of 15 short films that speak out against the American occupation of Iraq and the act of war. (3 min.)

3. LOST     Jeanne C. Finley & John Muse
Audio diaries of Chaplin Major Eric Olson combine with a single landscape shot. The implications of an Iraqi’s death reveal the complications and tragedy of war.
(3:48 min.)

4. Graven Images     Sherry Millner & Ernie Larsen
The artists’ ongoing “Sight Gag” series views patriotism (particularly post-9/11) as a form of hysterical blindness. (4:31 min.)

5. Words on PEACEpiece     Lili White
Only by dealing with one’s “shadow” can one arrive at peace; a flower chain made by  children during “Culture Day” — in Slovenian, a national holiday. (1.33 min.)

6. Our Grief Is Not A Cry For War     Barbara Hammer
October 11, 2001, Times Square. An ad hoc artist group, puts on a silent demonstration for peace in a time of national war hysteria. Lecturer Louise Richardson, Harvard University. (3:45 min.)

7. Unfurling     Martha Gorzycki
Images from visual culture scroll in a mesmerizing rhythm synonymous with the hypnotic effect of endless consumption, inviting viewers to question their own relationship to consumerism. (3 min.)

8. Night Vision     Alfred Guzzetti
Iraq: an apocalyptic landscape.  (2:32 min.)

9. I Shot a Spider     Elle Burchill
Caught in action, a late-night contemplation. (2:40 min.)

10. Star Spangled to Death     Ken Jacobs
Excerpt from 440 minutes shot from 1956 to 2004. (2 min.)

11. For Life  / Against War    Mark Street
Sometimes only flowers will do — pressed against 35mm film emulsion and exposed to the light — to give an unexpected  respite from world horrors. (2:37 min.)

12. Prototype: God Bless America!     Martha Rosler
A fragment of simulated glee produced by a bouncy robot with prosthetic legs, a movie-villain helmet, a brass trumpet — all with “made-in-China” plastic features. (1:09 min.)

13. Description of a Struggle     Bosko Blagojevic
Remembering the 90s, distracted; a single articulation, a way in. (2:55 min.)

14. The Small Ones     Lynne Sachs
A portrait of Sachs’ cousin, Sandor Lenard, a doctor who reconstructed the bones of dead American soldiers during World War II. Composed of abstracted war imagery and children at a birthday party. (3 min.)

15. Untitled     Kevin Barry
Poem on culture clash in Iraq, inherent racism and our own indifference as we use the resources gathered during the conflict. (1:33 min.)

16. STOP THE WAR     Les LeVeque  (3 min.)

17. PEACE in order to achieve PEACE     M M Serra
My reflections on the regime of George W. Bush. (3 min.)

18. Mutable Fire!     Bradley Eros and Erotic Psyche
Totems of destruction & desire, torn between the ecstasy that propels and the horrors that paralyze, we reveal erotic love to be a resistance to tyranny. (4 min.)

19. The Weather is Clearing Up!     Jeffrey Skoller
In the midst of war, Ho Chi Minh has a vision of happiness — 180 seconds shot in
Hanoi 62 years later contain the image of its actualization. (3:42 min.)

20. PEACE IS…     Rohesia Hamilton Metcalfe
Texts returned by a 9/20/06 Google search for the text “peace is” as a meditation on the consciousness of the crowd at this moment in time. (3:03 min.)

21. Sacco and Vanzetti     Douglas Katelus
Summer in NYC. One just might stumble across a bit of anarchy at Union Square: “know that I love you…know that I love you.” (3 min.)

22.  War Montage     Cara Weiner
Altered images of Iraq and war in general merge to create a visual experience. (3 min.)

23. Ashes, Ashes…     Jeff Silva
Using personal and archival footage to ruminate on the subject of war, the residue of past violence permeates into the present. (5 min.)

24. Peace and Pleasure     Artemis Willis and David Leitner
Performance artist Larry Litt leads “A Peace and Pleasure Talisman Charging Ritual” with Santeria drummers and a Voudun priestess to confuse and repel evil  “Fox-y” media demons. (4 min.)

25. Requiescat     Lynn Marie Kirby
1000 Xs scratched on film become prayers for persons killed in Iraq. Punching the machine during video transfer makes a glitch — marking each death anew. (4 min.)

The Small Ones

The Small Ones
3 min. color sound  2007

During World War II, the United States Army hired Lynne Sachs’ cousin,  Sandor Lenard, to reconstruct the bones – small and large – of dead American soldiers. This short anti-war cine-poem is composed of highly abstracted battle imagery and children at a birthday party.

“Profound.  The soundtrack is amazing.  The image at the end of the girl with the avocado seed so hopeful.  Good work.” Barbara Hammer

Black Maria Film Festival Director’s Choice Award; Ann Arbor Film Festival; Tribeca Film Festival; MadCat Film and Video Festival; Harvard Film Archive; Pacific Film Archive; Dallas Film Fest; Cinema Project, Portland.

For inquiries about rentals or purchases please contact Canyon Cinema or the Film-makers’ Cooperative. And for international bookings, please contact Kino Rebelde


This film is currently only availible with password. Please write to info@lynnesachs.com to request access.

“Living with War” Review of I Am Not a War Photographer screening & talk

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Arts & Entertainment
Living With War
Lynne Sachs explores humanity in wartime
The Cornell Sun

March 2, 2007 – 12:00am

By Julie Block

I’ve never been much of a documentary watcher. When I go to see films, I prefer a personal narrative amidst the social commentary. I feel that quite often, documentaries lose site of the individual in their search for overarching truth. However, I was fortunate enough to have my earlier prejudice corrected after I saw a unique view into humanity by Lynne Sachs at her presentation, “I am Not a War Photographer.”

Co-hosted by Cornell Council for the Arts and the Program of Feminist, Gender and Sexuality Studies, the program took place this past Tuesday night at the Film Forum in the Schwartz Center. Sachs, a veteran documentarian with a taste for experimental filmmaking presented a series of clips from an earlier set of films that focused on how human narratives and cultures gets lost within war.

After screening much of her oeuvre, Sachs screened her most recent film, States of Unbelonging. Between these segments she answered questions and introduced the following piece. While the films were all beautifully made, it was the insights into Sachs herself that made the night unique and inspiring.

The first film, Which Way is East, is a travel diary that follows Sachs and her sister Dana through Vietnam. From Ho Chi Minh City to Hanoi, Lynne and Dana spoke with different Vietnamese to get a sense of their culture, traditions and stories outside of the war. At the same time they literally reveal the gruesome underbelly of the war’s impact, going so far as to search in old hidden underground passages and foxholes. The shots in the film are a mix of confused, slow motion abstractions of Vietnam and slow, focused images of objects, scenery and people, lending an understated elegance to this cinematic record of a culture that is almost always perceived in our culture through the lens of a decades-past war.

The second film Sachs showed, Investigation of a Flame: The Catsonville Nine is the basis of her connection to Cornell. The film tells the history of the Catsonville Nine, a group of priests, nurses, and artists who, on May 17, 1968 chose to burn selective service records stolen from a draft office in Maryland. The unviolent protest was led by Father Daniel Berrigan, a former Chaplain of Cornell, and his brother Philip. During the trial, hundreds of Cornell students came down to Baltimore to protest in his defense. It was Sachs’s connection to him through her film that began her relationship with Cornell. The film, according to Sachs, was a look into not only this remarkable group, but also where the line between civil disobedience and a dangerous rebellion lies.

Sachs went on to show Tornado, a three-minute video made in the aftermath of 9/11. In a compelling twist, Sachs chooses not to focus on the faces of her subjects, but instead brings her camera to bear on their bodies and her own hands as she takes charred bits of paper, resumes, calendars and other detritus left over from the twin towers and repeatedly flips them over in her hands. This obsessive twirling gives character to these papers and, in a way, allows them to become silent memorials to the dead.

The last two films that Sachs showed were States of Unbelonging, a profound meditation on the terrorist murder of Israeli Revital Ohayon and her two sons, as well as a clip from The Small Ones, Sachs’s upcoming work. It focuses on her cousin Sandor, and his job reconstructing bones of dead American soldiers from the second World War (For a full review of States of Unbelonging, read Mark Rice’s column on Monday, February 23).

Each film presented was a special look into a time period and culture fractured by war. But instead of taking the traditional route and filming the obvious fractures, Sachs finds the undercurrents and reveals them through voice-over interviews, quotes from poems and images of life rather than death. There’s an intuitive sense to her work, as if she didn’t know what she was looking for but rather followed her instinct through each film.

As she explains it, rather than laying out each work in a linear fashion, she “start[s] from the center and works out” building layer upon layer until that eureka moment comes, after which she knows the movie is complete.

By not charting a direct course, Sachs has the ability to delve into the lives of her subjects and actually explore the struggles and problematic questions that arise from each war. She manages to make every film an organic, breathing entity. Her intense personal connection with her subjects is transmitted in every shot, still and shadow as well as through the narration. Taking her audience with her in her search for answers Lynne Sachs demonstrates that applying the term “war photographer” to her is truly doing her a disservice. In truth, she is a gatherer of worn photographic portraits of people brought together in a mosaic of tragedy, truth and human frailty.

For more information on Lynne Sachs or to see clips from her films, go to www.lynnesachs.com.

XY Chromosome Project #2 “City Salvage”

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Lynne Sachs and Mark Street
With special guests audio pranksters Bosko Blagojevic and Zach Poff

CITY SALVAGE is the second installment of Lynne and Mark’s XY Chromosome project, a dynamic feast for the eyes, ears and mind that considers the cities of HANOI, SANTIAGO, BUFFALO, SAO PAOLO, PRAGUE, NEW YORK, TEL AVIV & SAN FRANCISCO, SARAJEVO.  We’ve joined forces with the preternatural sound magicians Bosko Blagojevic and Zach Poff who will  contribute a live audio performance to our urban stew.

We invite you to drift away with us and be a floozy flaneur!

4 artists!  4 screens!  8 cities!  70 minutes!

CITY SALVAGE  contrasts images and  sounds in a kinetic, charged way.  This is a study of dissonance: abstract material brushed up against the discernible, frenetic versus the more languid, chaotic sound vs. silence, architecture vs. the human element.  The whole is fragmented and surprising like the experience of first walking through a new city.  How does the urban milieu serve our need to explore and wander, to be at once alone and in company? Each of these cities negotiates its urban impulses in  idiosyncratic ways.  As a collection, this evening will consider urbanism by looking closely at these vibrant cities.

Williamsburg, Brooklyn
http://www.monkeytownhq.com/xy2.html

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A Collection of Films Exploring Women, Culture, Science & Myth

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Purchase:

A COLLECTION OF FILMS ON DVD EXPLORING WOMEN, CULTURE, SCIENCE & MYTH BY LYNNE SACHS vol.1

DVD 2005, 65 minutes + extras

Available at Filmmakers Cooperative

http://film-makerscoop.com/rentals-sales/search-results?fmc_authorLast=sachs&fmc_title=&fmc_description=&x=48&y=15

Featuring:

Biography of Lilith & The House of Science: a museum of false facts

This DVD collection presents two of Lynne Sachs’ earlier films with several more recent media works — all of which explore themes of women, culture, science & myth. The creative as well as intellectual inner workings of these projects are revealed for the first time in the context of an elaborately conceived, yet accessible disc.

“Biography of Lilith conveys the real experience – bloody and poetic – of Lilith alive and now in every woman. Bravo! A film felt, imagined, and informed by life.” – Barbara Black Koltuv, Author of The Book of Lilith

“Lynne Sachs’ A Biography of Lilith is a beautifully realized melding of history, mythology, image, and sound that makes us rethink our understanding of a powerful, complex, and significant female figure.”

Prof. Caren Kaplan, Women’s Studies, University of California at Davis

BIOGRAPHY OF LILITH updates the creation myth by telling the story of the first woman and for some, the first feminist. In conjunction with the film, the DVD offers a personal introduction to Jewish Kabbala.

THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS investigates science and art’s representation of women in our society using home movies, collage, found footage and personal remembrances.

DVD FEATURES INCLUDE:

* Over 40 minutes of never-before-seen interviews with four prominent Judaic scholars provide anchors for discussion of the Lilith myth.

* Six of Sachs’ poems which were written during the making of Biography of Lilith

* Thirteen collages with text from The House of Science

* Two Short Films: Window Work and Photograph of Wind

* Filmmaker Biography

* Interactive Menus

* DVD-ROM: Printable Transcript of The House of Science and Poetry from Biography of Lilith

PRINCIPAL CREDITS

Films, poetry, collages, cinematography, direction: Lynne Sachs

DVD design: Rachel Melman

Music: Pamela Z, Charming Hostess

Jewish Scholars: Daniel Boyarin, Tikvah Frymer-Kensky,

Rabbi Meyer Fund, Naomi Mark

SCREENINGS: Museum of Modern Art, the Oberhausen Film Festival, the Whitney Museum of American Art, the Delaware Biennial, the Pacific Film Archive, and the Tate Modern. The films have won awards at the Atlanta, New Jersey, Ann Arbor, Athens, Black Maria, Charlotte and Humboldt Film Festivals

States of UnBelonging at New York Underground Film Festival

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New York Underground Film Festival

States of UnBelonging

By Lynne Sachs in collaboration with Nir Zats

Documentary 63:00 Video 2005

The two-and-a-half year correspondence between two friends, one based in New York and the other in Israel, makes up the bulk of Lynne Sachs’ (Investigation of a Flame, NYUFF 2002) personal documentary States of UnBelonging.  Exchanging letters, emails and phone calls, Sachs and her Israeli friend Nir Zats work together to uncover and record the story of Revital Ohayon, an Israeli filmmaker and mother senselessly killed in a terrorist attack in the West Bank.  With nothing much to go on but a newspaper clipping and a name, Sachs and her friend reveal the story of Ohayon’s life through footage from her own films, television news reports, and finally the amazing discovery of a home video of Ohayon’s children in preschool, just before she was killed.

In contrast to the urgent voices of the two filmmakers discussing the Israeli-Palestinian situation and the fate of Ohayon, we are shown quiet images of Sachs herself, her children, and the serenity of their daily activity at home in New York. This is a quiet alternative to the frustrated investigator looking for some answers, and the images of her family life do seem safe, far enough away from the violence she investigates to be rendered still.

This documentation of Sachs’ life at home added to the evidence about the death of Ohayon abroad makes the film as much about its own process of discovery, of education and time’s effect on truth and perception, as it is about the mystery of Ohayon’s murder itself.

States of UnBelonging reviewed in The Jewish Weekly

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From THE JEWISH WEEKLY
February 24, 2006

“States of UnBelonging”
at Makor Steinhardt Center of the 92nd St. Y

“Of all the literary formats, the essay, perhaps, seems the least suited to cinematic adaptation; with its intensely personal nature and often rambling paragraphs, it appears to elude the sort of tight structural discipline demanded of a coherent piece of film.  All of which makes Lynne Sachs’ achievement all the more impressive:  Here is a cine-essay, maintaining all the benefits of the original format while adhering to the demands of the visual.  At the heart of the film is Sachs’ two-year exchange of letters and pictures with her Israeli friend Nir Zats, an exchange that begins when Revital Ohayon, an Israeli filmmaker and mother, is killed in a terrorist attack on her kibbutz near the West Bank.  Soon, Sachs herself embarks on a journey to visit Ohayon’s grieving family, and her film becomes a meta-essay of sorts, meditating on fear and filmmaking, tragedy and transformation, violence and the land of Israel.  This elegant and beautiful piece of filmmaking is greatly enriched by its soundtrack, featuring works by some of the Jewish avant-garde scene’s best and brightest, including Jewlia Eisenberg, Raz Mesinai and Basya Schecter.”

George Robinson

Film Threat Online Review of States of UnBelonging

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FILM THREAT
http://www.filmthreat.com/print.php?section=reviews&Id=9181

STATES OF UNBELONGING
Directed by Lynne Sachs

Review by David Finkelstein

(2006-07-21)

2006, Un-rated, 63 minutes

This haunting film is at once a documentary, a highly personal film essay, and a poetic meditation on the human consequences of the Israeli/Palestinian conflict. The film tells the story of how Lynne Sachs became gradually drawn into the story of Revital Ohayon, an Israeli filmmaker who lived on a kibbutz directly adjacent to a Palestinian refugee camp, and who was killed, along with her two young sons, by a terrorist in 2002. (To add to the horror of the story, her young husband heard the entire gruesome murder on his phone.) Sachs reads about the story in the New York Times, and begins a correspondence with an ex-film student of hers, Nir Zats, who lives in Israel. It is natural that Sachs is fascinated by the story: like her, Ohayon is a female Jewish filmmaker with young children, trying to make films which address social conflicts. Like her, Ohayon was opposed to the Israeli occupation of Arab lands. (”She believed that peace must pervade,” says her mother.) Ohayon was a fiercely independent thinker, whose films, shown here in fragments, tell stories of women who strongly assert their right to define themselves. Ohayon’s story holds a key to how a woman, a mother, and an artist can find a sane way of living in a world of seemingly irreconcilable conflict and violence.

Review of States of UnBelonging by Cinequest Festival

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States of UnBelonging by Lynne Sachs

Cinequest:  San Jose Film Festival

Screenings March 11 and 12, 2006

What separates each of us from the other? Director Lynne Sachs explores this complex question and others in her haunting new film States of Unbelonging—a beautiful poetic journey that searches for how one person understands another across cultural, historical and political divides.

The two people in question are Sachs herself and Revital Ohayon, an Israeli filmmaker killed by terrorists. Like Sachs, Ohayon was a mother, a filmmaker, a teacher and a Jew. Though she never met Ohayon, Sachs examines the onslaught of modern media that united both artists, mediated through the letters, messages and phone calls exchanged with Israeli friend, Nir Zats. Deeply interested in “history’s histories and raptures,” Sachs embarks on a private journey to ponder issues of identity, violence in the Middle East, and the hope for union, culminating in an unforgettable visit with Ohayon’s grieving family.

Intensely personal yet thoroughly accessible, States of Unbelonging is a profound meditation about living in an unstable world, with the personal densely blurred with the historical. Drawing on a wide variety of forms, from TV coverage to phone messages and film, Sachs has created a challenging, invigorating film-essay that could rank with the multi-layered ruminations of Chris Marker.

Fernando F. Croce