Screen Slate reviews Investigation of a Flame
Sachs gives us a rich vision of the event, the people involved, and its political and philosophical context, that’s always elegant, never didactic.
2018
PRESS
2018
agnès films Review of Carolee, Barbara and Gunvor
Carolee, Barbara and Gunvor is an exquisite dance shared by filmmakers and their literal and metaphorical lenses. It’s also a wonderful journey of nostalgia. The look of the 8mm and 16mm film paired with the subject matter easily takes the viewer back to the innovative first moments of women’s experimental filmmaking.
2018
Filmoteca Española: Free Radicals Lynne Sachs
The extensive experimental and North American film tradition, which is interwoven with the history of documentary filmmaking and deeply rooted in political struggles, is full of names to be (re)discovered, in most cases women who continue the formal, poetic and political explorations of the avant-garde film, but broadening the space of what can be filmed and rewriting, in their own way, the old school feminist moto: “the personal is political”. Lynne Sachs’ case, friend and collaborator of the French filmmaker Chris Marker (she worked with him in Three Cheers for the Whale), is symptomatic of a certain kind of cinema that has been for years focusing on intimate spaces as places in which social issues can resonate.
2018
Review of “Wind in Our Hair” in Ciné Maldito
By revealing flashing images of contemporary Buenos Aires, Lynne Sachs presents four girls who reminded me of Gummo’s Bunny Boy (Harmony Korine, USA, 1997), but instead of cars they have trains, and instead of pure decadence these girls project pure life.
2018
Review of “The Washing Society” in Otro Cine Europa
Olesker and Sachs zoom in—at a microscopic level—on the idea of the melting pot. It’s an astonishing image: a skein of fibers and threads badly woven together. So much so that there isn’t anything left to do but send the whole mess to the laundry. What follows is an attempt to make sense of a nebula of colors that run circles around themselves, an image that, by its centrifugal force, creates an illusion of homogeneity.
2018
The Joy of Filming – a program of films by Lynne Sachs / Athens International Film + Video Festival
In the spirit of classics like the The Joy of Cooking or The Joy of Sex, Lynne Sachs will present an interactive lecture in which she will share her own process (or recipe) for making films.
2018
Village Voice reviews “Carolee, Barbara and Gunvor”
“I could make the inside of myself show on the outside,” Barbara Hammer says in Lynne Sachs’s documentary Carolee, Barbara & Gunvor (2018), explaining how a lighter movie camera, developed in the Sixties, helped her convey intimacy, and thus became a useful, malleable tool of expression.
2018
Screen Slate Reviews “Carolee, Barbara and Gunvor”
Sachs has a really well-attuned photographic eye, and she captures the trio in a series of easygoing domestic situations. The three artists discuss their artistic lives, how they came into their practice, how their gender identities factor in, where their work comes from.
2017
THE LANTERN – “Tip of My Tongue” Screens at the Wexner Center (Article and Full Interview)
I am happiest when my film ‘characters’ explore storytelling from various subjectivities,” various selves and other-selves, opening up, perhaps ironically, a more authentic portrayal of being alive during a specific time, in a specific situation or place.”
2017
Lynne Sachs & Mark Street: A Marriage of Remakes
“Sachs and Street have each remade films by her or his partner, creating a new dimension in both their work, elucidating through the nature of the project both the translatable and the untranslatable.”
