Available on DAFilms: https://americas.dafilms.com/director/7984-lynne-sachs Drawn and Quartered The House of Science: a museum of false facts Which Way Is East: Notebooks from Vietnam States of UnBelonging Same Stream Twice Your Day is My Night And Then We Marched Carolee, Barbara & Gunvor The Washing Society A Month of Single Frames Film About a Father Who
Available on Fandor:https://www.fandor.com/category-movie/297/lynne-sachs/ Still Life With Woman and Four Objects Following the Object to Its Logical Beginning The Washing Society The House of Science: a museum of false facts Investigation of a Flame Noa, Noa The Small Ones Which Way Is East: Notebooks from Vietnam Atalanta: 32 Years Later States of UnBelonging A Biography of Lilith The Task of the Translator Sound of a Shadow The Last Happy Day Georgic for a Forgotten Planet Wind in Our Hair Drawn and Quartered Your Day is My Night Widow Work Tornado Same Stream Twice
Available on Ovid:https://www.ovid.tv/lynne-sachs A Biography of Lillith Investigation of a Flame The Last Happy Day Sermons and Sacred Pictures Starfish Aorta Colossus States of Unbelonging Which Way Is East: Notebooks from Vietnam Your Day is My Night Tip of My Tongue And Then We Marched A Year of Notes and Numbers
http://www.kinorebelde.com/lynne-sachs-complete-filmography/ Kino Rebelde has created a retrospective that traces a delicate line connecting intimacy, power relations, violence, memory, migration, desire, love, and war in Lynne’s films. By looking at each of these works, we can see a director facing her own fears and contradictions, as well as her sense of friendship and motherhood. Moving from idea to emotion and back again, our retrospective takes us on a journey through Sachs’ life as a filmmaker, beginning in 1986 and moving all the way to the present.
With the intention of allowing her work to cross boundaries, to interpret and to inquire into her distinctive mode of engaging with the camera as an apparatus for expression, we are delighted to present 37 films that comprise the complete filmmography, so far, of Lynne Sachs as visual artist and filmmaker. Regardless of the passage of time, these works continue to be extremely contemporary, coherent and radical in their artistic conception.
About Kino Rebelde
Kino Rebelde is a Sales and Festival Distribution Agency created by María Vera in early 2017. Its exclusively dedicated to promotion of non-fiction cinema, hybrid narratives and experimental.
Based on the creative distribution of few titles by year, Kino Rebelde established itself as a “boutique agency”, working on a specialized strategy for each film, within its own characteristics, market potential, niches and formal and alternative windows.
This company supports short, medium and long feature films, from any country, with linear or non-linear narratives. They can be in development or WIP, preferably in the editing stage.
The focus: author point of view, pulse of stories, chaos, risk, more questions, less answers, aesthetic and politic transgression, empathy, identities, desires and memory.
Kino Rebelde was born in Madrid, but as its films, this is a nomadic project. In the last years María has been living in Lisbon, Belgrade and Hanoi and she’ll keep moving around.
About María Vera
Festival Distributor and Sales Agent born in Argentina. Founder of Kino Rebelde, a company focused on creative distribution of non-fiction, experimental and hybrid narratives.
Her films have been selected and awarded in festivals as Berlinale, IFFR Rotterdam, IDFA, Visions Du Réel, New York FF, Hot Docs, Jeonju IFF, Sheffield Doc/Fest, Sarajevo FF, Doclisboa and Viennale, among others.
María has a background as producer of socio-political and human rights contents as well as a film curator.Envelope
Lynne Sachs (1961) is an American filmmaker and poet living in Brooklyn, New York. Her moving image work ranges from documentaries, to essay films, to experimental shorts, to hybrid live performances.
Working from a feminist perspective, Lynne weaves together social criticism with personal subjectivity. Her films embrace a radical use of archives, performance and intricate sound work. Between 2013 and 2020, she collaborated with renowned musician and sound artist Stephen Vitiello on five films.
Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in each new project.
Between 1994 and 2009, Lynne directed five essay films that took her to Vietnam, Bosnia, Israel, Italy and Germany – sites affected by international war – where she looked at the space between a community’s collective memory and her own perception.
Over the course of her career, she has worked closely with film artists Craig Baldwin, Bruce Conner, Ernie Gehr, Barbara Hammer, Chris Marker, Gunvor Nelson, and Trinh T. Min-ha.
The program of moving image shorts curated by Mary Magsamen of the Aurora Picture Show was presented by AMOA-Arthouse and Fusebox Festival on April 29, 2012.
If the folk tale ranges over generations first orally and then beginning in the 17th c. with the advent of the fairy tale as a literary genre, key to its very being is its contingency upon each “author” and that teller’s positioning in place and time (or history). In devising innovative forms by which to tell tales, both familiar and novel, the titles included in Aurora Picture Show’s program Big Bad Wolf invoke this centuries-old performative spirit so imbued with a sense of the need to create in order to re-create.
This the curators could know in advance of the event. While they also could know to some extent the screening’s setting (i.e., outdoors on the lush estate of Laguna Gloria in a leafy Austin neighborhood, part of Fusebox, etc.), only until experiencing the evening in the process of its unfolding could they fully grasp—in consort with the invited audience—their presentation in its context-specificity. Their gander that the confluence of night, site and moving image program would be dynamic did not disappoint.
Who could have scripted that peacocks’ cries (from next door at Mayfield Park) would add an otherworldly layer to the evening’s soundtrack, or that a family of swans would glide by just beyond the screen on the Colorado River shortly before the sun sank and the program began? Seemingly glowing in their stark whiteness against the darkening water, the scene foreshadowed the black-and-whiteness of the first film, Hansel and Gretel (1955)1 by Lotte Reiniger. While the director places black on top of white in her silhouette animation and the inverse relation of light to dark is witnessed in the swan scene, their chance juxtaposition results in an exciting formal interplay between the known of the film and the unknown of the event site.
Although the viewer is awed by Reiniger’s dexterity with making shape and motion by cutting and arranging paper as well as by the experimental ethos necessary to arrive at such a signature style, there is a nagging feeling that the cinema pioneer is somehow restrained by narrative. Just as Hansel and Gretel seek refuge from the witch (who we hear to say in a deliciously scary voice, “little mouse who crawled away, come you back with me to stay”2), why shouldn’t the filmmaker straddle her broomstick and grant herself a joy ride from the onus of moving the plot forward? For Reiniger’s animation magic to be fully realized it must break free of the need to be a constant stream of information. This sense of formal enterprise being usurped by narrative gives potency to the screening’s extra-filmic composition (sky, river, breeze, animals), amidst which it is curious to note that Hansel and Gretel find their home again but—joined by the squirrel, goose and deer—are wilder than before.
Beyond Reiniger, I found the two works humblest in production terms the most gratifying formally and conceptually. Putting Situationist teachings—Debord’s theory of détournement—to practice in Cinderella +++ (2002), Eileen Maxson disrupts the hegemony of the Disney classic through uncanny sound and image recombinations. The stunning cel (hand-drawn) animation of first Cinderella and then Lady and the Tramp is given afterlife by the voices of love interests (gone sour) appropriated from the soundtracks of the TV series 90210 and “Jack Nicholson in the film Carnal Knowledge”3 (left unidentified in the program notes). While the Disney images convey a (false) sense of security—the world’s the way it ought to be—the re-purposed dialog underscores how the unknown is all around us.
In Atalanta: 32 Years Later (2006) Lynne Sachs4 takes as source material the 1974 TV show Free To Be You and Me—already an update on the classic tale of the “beautiful princess in search of the perfect prince”5—and re-edits it. She turns the image sideways, pairs different parts of the original through the use of split-screen, and plays both image and sound in reverse—providing “subtitles” for the resulting garbled voices. “The maiden from across the forest cut her hair, put on a mustache….” and the lesbian union strides onto the stage of collective imagination (and commands its role in history). Reading at the film’s tail, “for Barbara Hammer,” this retelling became all the more alive for me. In ways too manifold to express here, Hammer, legendary “pioneer of queer cinema,”6 has—like a fairy tale protagonist—found her way home time and again through many a tangled path.
Caroline Koebel is a filmmaker and writer in Austin.
5 min. color sound, 2006
16mm film released on MiniDV & DVD
A retelling of the age-old fairy tale of the beautiful princess in search of the perfect prince. In 1974, Marlo Thomas’ hip, liberal celebrity gang created a feminist version of the children’s parable for mainstream TV’s “Free To Be You and Me”. Now in 2006, Sachs dreamed up this new experimental film reworking, a homage to girl/girl romance.
“Very gentle and evocative of foreign feelings.” George Kuchar