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“Maya at 24” Selected in Beyond Chron’s Best of 2021

BEST FILMS OF 2021
by Peter Wong 
January 4, 2022
Beyond Chron
https://beyondchron.org/best-films-of-2021-2/

Maya at 24 – Lynne Sachs’ short uses the simple image of her daughter Maya running in front of the camera to offer kinetic snapshots of how our children change physically and emotionally over the years.

Peter Wong

For this writing filmgoer, 2021 offered the first tentative steps back to pre-pandemic filmgoing.  Film festivals adjusted in various ways to using both online streaming and in-person events to reach their audiences.  The reopening of film theaters in San Francisco allowed proper enjoyment of such big screen must-see films as “Summer Of Soul,” “Dune,” and “Shang-Chi And The Legend Of Ten Rings.”  On the other hand, the least worrisome in-theater viewing was had at the Roxie, which required ID and proof of vaccination before a viewer could even get a ticket.

Because there’s no category here for episodic TV screened at film festivals, special note needs to be made of Maria Belen Poncio and Rosario Perazolo Masjoan’s Argentine TV mini-series “Four Feet High.”  The Sundance Film Festival presented this touching and funny story of wheelchair-bound teen Juana, who’s just transferred to a new high school.  Her struggle for personal independence gets intertwined with her desire to get laid.  In addition, she’s helping some fellow queer students’ efforts to get a real sex education course at their school.  Its greatest asset is giving viewers a chance to see through Juana’s eyes what life is like as a disabled person.  Where else will you get to hear Juana’s riposte to a woman who patronizingly wants to put Juana on a pedestal: “Your life must be awful if I’m setting the example.”

Of the actual feature films seen by this writer this year, here are some lesser known films which deserve a little more than a title-only honorable mention:

The Show” comes from director Mitch Jenkins, who worked off a script by comics legend Alan Moore.  The film begins with a familiar fictional trope:  A man whose name is supposedly Steve Lipman comes to Northampton on a quest.  But by the time “Lipman”’s true name and intentions are revealed, the viewer discovers Northampton teems with such ongoing surprises as a superhero investigator, a supposedly dead comedian/mage (played by Moore), and a burned down men’s club that’s still thriving in dreams.  Call the Moore-scripted film one unburdened by the diktat of genre storytelling.  The film is available via Shout! Home Video.

2021 saw two films titled “Swan Song” hit theater screens.  Todd Stephens’ version stars perpetual character actor Udo Kier in his first lead role.  He plays a gay beautician reluctantly escaping retirement for one last job.  Kier makes the most of “Swan Song”’s hilariously bitchy dialogue (e.g. “Let her be buried with bad hair”) and showing how his “Mr. Pat” remains fabulous even in reduced circumstances (e.g. the candelabra “wig”).

A different sort of swan song is offered by the Benny Chan action film “Raging Fire.”  It might very well be a bullet- and blood-soaked farewell to the Hong Kong popular cinema brand of balls-to-the-wall action thanks to the mainland Chinese government’s draconian use of its “National Security Law,”  The antagonists are tough but righteous Bong (Donnie Yen) and Bong’s now disgraced former protege Kong (Nicholas Tse).  Kong’s determined to have his revenge on the people he blames for ruining his career, no matter how powerful they may be.  The mainland Chinese government generally frowns on films with corrupt government officials as villains, which is why viewers might be unlikely to see future “Raging Fire”-style films.

Now on to the main Best Of lists.

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Part I: Features

The Power Of The Dog–The year’s best feature film brings deep and memorable shades of gray to a genre notorious for its characteristic stark black and white morality.  Director Jane Campion’s anti-Western challenges the genre’s exaltation of straight maleness.  Benedict Cumberbatch’s Phil magnetically dominates the screen as one of two 1920s Montana ranch owners.  Even when his character despicably emotionally abuses Kirsten Dunst’s modest Rose, it never feels as if his behavior plays into cultural stereotypes.  Yet the film’s biggest sting comes from the viewer’s eventual realization of why the film’s title is perfect for its story.

Drive My Car–On paper, Ryusuke Hamaguchi’s 3-hour movie may sound as if it’s greatly padding Haruki Murakami’s 30-page original short story.  Yet Hamaguchi treats Murakami’s original as a starter kit for his own take, one which begins by filling in characters’ backstories only hinted at in the original.  Theater director/actor Yusuke Kafuku and his young chauffeur Misaki Watari turn out to be kindred souls in finding time has not been a balm for personal grief.  Producing Kafuku’s multilingual version of the Chekhov classic “Uncle Vanya” turns out to be key in different ways to helping these two characters’ grieving processes move to their conclusions.

Titane–With an abandon matched by driving a car at top speed on urban streets, Julia Ducournau’s entertainingly demented French feminist body horror tale gleefully runs over bourgeois aesthetics.  Neither objectification nor sentimentality is allowed to soften car dancing lead character Alexia’s serial killer nature.  Unconstrained describes both her killing methods and her means of sexual satisfaction.  Even when Alexia goes to ground by scamming her way into a rural fire chief’s life, Ducornau’s lead character remains defiant in a different way courtesy of a public deliberately sexy dance and a fantastically strong Ace bandage body wrap able to conceal her increasing pregnancy.

Judas And The Black Messiah–The title of Shaka Khan’s electrifying film refers to Black Panther Party Chairman Fred Hampton and undercover FBI informant William O’Neal.  Daniel Kaluuya masterfully brought to life Hampton’s personal charisma and his incredible political skills at unifying politically opposed Chicago subcultures.  But the film’s also a painful lesson on the limits of Hampton’s personal charisma.  In O’Neal, actor LaKeith Stanfield memorably created a man for whom it was unclear whether he’d turn on his FBI puppet masters or he was continually conning his fellow Black Panthers.   “Anti-white” scolds of the film can soak their heads given it’s a fair description borne out by history to say white law enforcement officials’ willingness to permanently neutralize Chairman Fred went into “by any means necessary” territory.

There Is No Evil–Admittedly, this 70th Berlin International Film Festival Golden Bear winner is not an easy film to sit through.  But Mohammad Rasoulof’s film demonstrates once again why real art skillfully disturbs its viewer.  Its four stories about administering the death penalty in Iran questions individual responsibility in a brutal system.  How does a person deal with the reality of being compelled to take another person’s life at the government’s order?  As the viewer learns the motivations and consequences that affect a character’s obedience to the kill order, they wind up considering their own boundaries if they were placed in a similar situation.

The Lost Daughter–Maggie Gyllenhaal’s wonderfully thorny debut feature shows the consequences of culturally assuming that women are inherently maternal creatures.  Her adaptation of Elena Ferrante’s titular novel teases out the emotional similarities between comparative literature professor Leda (Olivia Colman) and young semi-irresponsible mother Nina (Dakota Jackson) during a Greek summer vacation.  Jessie Buckley, who plays the younger version of Leda, ably handles the crucial task of showing how Leda’s marriage to her job and her valuing of personal independence frequently overrides her responsibilities as a mother.  If Gyllenhaal’s film liberates one woman from resignation to motherhood, it will have succeeded.

Riders Of Justice–Director Anders Thomas Jensen’s revenge tale carries within its frames the seeds of its darkly comic deconstruction of the retribution genre.  Eccentric mathematician Otto (Nikolaj Lie Kaas) and his friends may have common cause with military man Markus (Mads Mikkelsen) thanks to a train “accident” that claims the lives of both a key criminal trial witness and Markus’ wife.  But Jensen shows how healing the strained relationship between Markus and his teen daughter Mathilde deserves as much importance as avoiding the film’s lethal flying bullets.

Wheel Of Fortune And Fantasy–In this unusual year of 2021, Ryusuke Hamaguchi manages to put a second film on the year’s best of list.  This one is a triptych of short stories about love forgotten or rejected.  In each story, a woman who’s failed at finding love in the past is given the opportunity to either change or repeat their earlier mistakes.  This film may appear visually simple, yet its stories roil with deep and complicated emotions.

Night Of The Kings–A forest-bound Ivory Coast prison run by its inmates happens to be the setting for Philippe Lacote’s always hypnotic tale of the power of storytelling.  As new prisoner Roman tries to stay alive until morning by telling tales of the life of notorious outlaw Zama King, the viewer is swept up in the recreations and dramatizations of such moments as the betrayal that ended Zama’s life and magical battles between African rulers.  Yet equally fascinating are the efforts of dying prison kingpin Blackbeard to avoid being deposed and ambitious rival Lass’ efforts to push Blackbeard out of the top seat.

Zola–The greatest stripper saga ever Tweeted gets an entertaining dramatization in Janicza Bravo’s hands.  Its tale of a money-making road trip to Florida that goes south in a non-geographic way works via the contrast between Taylour Paige’s Black commonsensical stripper title character and Riley Keough’s blaccented white trash deceptive fellow stripper Stefani.  The crazier events Zola recounts still feel way more truthful than Stefani’s account of Zola’s rocking garbage bag couture.

Dune Part 1–Big screen science fiction adaptations often create the temptation of letting the spectacle of its imagined worlds overwhelm the human story that’s supposed to be a film’s core.  After literal decades of attempts to bring Frank Herbert’s science fiction epic to the silver screen, “Arrival” director Denis Villeneuve finally succeeds.  By breaking this adaptation into (potentially) two parts, Villeneuve gives the viewer breathing room to inhabit the arid magnificence of Arrakis and to follow and understand the destiny awaiting Paul Atreides (Timothee Chalamet).  Props to the director for gambling that audiences would make this first half profitable enough that he can show how Atreides’ story ends.

Honorable Mentions:  The Show, In The Heights, Shang-Chi And The Legend Of The Ten Rings, The Green Knight, Language Lessons, The Souvenir Part II, Pebbles, Raging Fire, Swan Song, Passing, I’m Fine (Thanks For Asking), Beyond The Infinite Two Minutes


Part II–Documentaries

Summer Of Soul—Thinking of Questlove’s debut feature documentary as just a powerful concert film sells his cinematic achievement short.  2021’s best documentary is also a thrilling piece of cinematic cultural archeology.  It both resurrects footage of the unjustly forgotten 1969 Harlem Cultural Festival and rebukes the cultural gatekeepers who ignored the festival in favor of the (predominantly white) Woodstock Music Festival.  This film is a treasure chest of period performances by such seminal Black artists as Gladys Knight and the Pips, B.B. King, and Nina Simone.  But equally fascinating are the reminiscences from both sides of the Cultural Festival stage.

The Velvet Underground–Director Todd Haynes’ outstanding first documentary feature captures the life and times of the Lou Reed years of the legendary art rock band and the cultural milieu the Velvet Underground emerged from.  Andy Warhol’s portrait studies of the individual VU members and VU founding member John Cale’s reminiscences are just two of the powerful primary sources Haynes draws upon to make the film come alive.  The original iteration of the VU may have produced a limited discography.  But the impact of that music on sparking future musical talents demonstrates once again the virtue of quality over quantity.

The First Wave–It is not “too soon” for the appearance of Matthew Heineman’s emotionally intense chronicle of a beleaguered New York City-based medical facility during the first wave of COVID infections.  It’s a snapshot of the chaos and desperation of those months when even vaccines for COVID weren’t available.  Seeing the stress on medical personnel who are regularly confronted by their inability to save lives from the disease makes those who deny the seriousness of COVID appear even more selfish and short-sighted than ever.

499–Rodrigo Reyes’ incredible hybrid documentary surveys contemporary Mexican life to show why the country’s conquest by Spain nearly 500 years ago was not the boon touted by advocates of such conquest.  An unnamed 16th century Spanish conquistador becomes a mostly silent guide through modern day Mexico as he shows how MS-13 gangsters and the desperate migrants hopping a ride on The Beast aren’t that far removed from the conquistador’s contemporaries.

Procession—Robert Greene may be the name director in this film following half a dozen victims of clerical child abuse using drama therapy to find emotional closure.  But these victims break down the subject/director barrier by using the therapeutic recreations or confrontations they commit to film to empower themselves.  The legal system may have repeatedly failed these recipients of clerical abuse.  But the audience is privileged to see the men using this film they made together to take back their lives.

The Neutral Ground–The years-long struggle to remove four statues honoring the Confederacy from New Orleans’ public land provides an entry point for director CJ Hunt to examine the history of America’s toxic romance with the Antebellum South and the evil it represented.  Hunt’s non-confrontational approach does allow advocates for “Southern culture” space to appear as more than just ignorant stereotypes.  But the film ultimately argues that America’s long-standing romance with the so-called Lost Cause is one that preserves and strengthens the worst aspects of America’s soul.

Dear Mr. Brody–Keith Maitland found the right angle to recount the tale of self-styled hippie millionaire Michael Brody, Jr.’s publicly announced plan to give away his entire $25 million fortune (up to $172 million in 2021 dollars) to “anyone in need.”  Instead of centering on the enigmatic young man making this public offer, the director finds the tale’s heart in the stories of some of Brody’s would-be supplicants and a couple of people in his inner circle.  That smart decision shows the real lesson of Brody’s offer comes not from seeing human avarice on display but in learning the often touching dreams and desperation that compels people to seek Brody’s aid.

Who We Are: A Chronicle Of Racism In America–Emily Kunstler and Sarah Kunstler’s documentary captures ACLU’s deputy legal director Jeffery Robinson explaining the intertwining of American greatness and the country’s long racist history.  It’s shocking to see how present day innocuous places (e.g. NYC’s Wall Street, New Orleans’ The French Quarter) have strong ties to the slave trade.  Contrary to the whitewashed racism behind opposition to “critical race theory,” the Kunstlers’ film powerfully argues that only through asking questions and confronting its shameful bigoted legacy can America truly move forward racially.

A Sexplanation–Local filmmaker Alex Liu skillfully uses humor and curiosity to undermine viewers’ prurience around sex.  His ultimate goal is to show viewers the inadequacies of current sex education, as seen in a cringeworthy sequence of random adults in S.F.’s Dolores Park being unable to identify human genitalia.  The director’s search for better ways to learn about sex sends him on a cross-country journey to such places as the Kinsey Institute and even a class that teaches age-appropriate sex education.  What other documentary this year allows its director the opportunity to masturbate for science?

Morgana–One of the year’s more intriguing documentary subjects is the titular Morgana Muses.  This divorced middle-aged Australian housewife re-invented and re-discovered herself making woman-oriented erotic videos.  This funny and frequently heartbreaking film follows her over several years as she tries to live her best personal and artistic life while fending off mental illness.

Honorable Mentions:  A Glitch In The Matrix, Burning, Landfall, Street Gang: How We Got To Sesame Street, Ricochet, North By Current, Lily Topples The World, A Kaddish For Bernie Madoff, Ascension, Writing With Fire


Part III–Shorts

Don’t Go Tellin’ Your Mama–Topaz Jones’ update of the 1970s’ “Black ABCs” flashcards offers a wonderful snapshot of modern-day Black American culture by bringing in everything from the  concept of code switching to the joys of eating sour candy.  Simply the year’s best short film.

What You’ll Remember–Erika Cohn’s heartfelt locally-based short is an expression of love from a mother for the resilience of her children as their working poor family all weathered houselessness in the San Francisco Bay Area.

Maya At 24–Lynne Sachs’ short uses the simple image of her daughter Maya running in front of the camera to offer kinetic snapshots of how our children change physically and emotionally over the years.

Exquisite Shorts Volume 1–Applying the Exquisite Corpse game to filmmaking, Ben Fee and 18 other filmmakers or duos made short films inspired by a pair of unrelated words.  One word begins the film while the other ends it.  Otherwise, anything goes.  The entertaining results include a flying saucer abduction, a back porch conversation, and a “Survivor” style game where unlucky contestants turn into ooze.

Opera–Erick Oh’s breathtaking animated film takes viewers through the various levels of a fictional hierarchical society.  The exquisitely detailed animation is such that several viewings and a good screen will be needed to truly appreciate Oh’s work.

Honorable Mentions:  ASMR For White Liberals, 24,483 Dreams Of Death, Nuevo Rico, Koto: The Last Service, The Leaf, Luv U Cuz, A Ship From Guantanamo, Mission: Hebron, Almost Famous: The Queen Of Basketball

“Maya at 24” Screens at Ji.Hlava Film Festival

Ji.Hlava Film Festival (Czech Republic)
October 26- 31, 2021
https://www.ji-hlava.com/filmy/maya-ve-24
https://www.ji-hlava.com/programove-sekce/fascinace

The film will be featured in the Fascinations program and will screen on Thursday, October 28, 2021 at 10PM.


Fascinations is a prestigious section for experimental documentaries from all around the world, with the prize for the Best Experimental Documentary Film.


Maya at 24

director: Lynne Sachs
original title: Maya at 24
country: United States
year: 2021running time: 4 min.

synopsis

The spellbinding time-lapse follows the director’s daughter in a circularly minimalist depiction of the cycle of changes in her face from childhood to adulthood. 

biography

American artist Lynne Sachs (1961) started making films during her studies in San Francisco, where she collaborated with artists like e.g. Craig Baldwin, Bruce Conner and others. In her work, she uses various forms of film, combinations of elements of essay, collage, performance, documentary and poetry. Her self-reflective films explore links between personal observations and a wider historic perspective.

AEMI Presents- Day Residue: A Film-Making Workshop on the Every Day, in-person workshop in Cork (NOVEMBER 9)

aemi @ CIFF: Workshop with Lynne Sachs
9 November 2021 / 11am – 4pm / Crawford College of Art and Design, Cork
https://aemi.ie/event/workshop-with-lynne-sachs/

We are really excited to work with aemi’s Artist in Focus Lynne Sachs to deliver a workshop as part of CIFF 2021. This in-person workshop in Cork will focus on the interplay between poetry and cinema. Based in New York, Lynne Sachs is an award winning filmmaker whose work bridges personal experience and political concerns through her singular approach to filmmaking. Lynne uses both analogue and digital mediums, weaving together text, collage, painting, politics and layered sound design.

‘Day Residue: A Film-Making Workshop on the Every Day’ is open to both emerging and established artists interested in film and writing. The workshop is an excellent opportunity for film artists to deeply consider creative approaches to writing and film, both in relation to their own practices and within wider contexts.

Day Residue: A Film-Making Workshop on the Every Day
Lynne Sachs: According to Sigmund Freud’s theory of dreams, our day residue is composed of the memory traces left by the events of our waking state.  In this workshop, we explore the ways in which fragments of our daily lives can become material in writing for a personal film. While many people in the film industry rely upon a chronological process that begins with the development phase and ends with post-production, our Day Residue workshop will build on an entirely different creative paradigm that encourages artists to embraces the nuances, surprises and challenges of their daily lives as a foundation for a diaristic practice.

The day will be structured by two sessions: in addition to introducing her practice and collectively watching Lynne’s programme of short films curated by aemi for CIFF (see film info below), Lynne will also lead a session on writing and film / writing for film, and the possible interplays between the two – extending to the role of poetry.


In-person screening programme within the workshop:

Lynne Sachs, Carolee, Barbara & Gunvor, 2018, USA, 8 min
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three artists who embraced the moving image throughout their lives.

Lynne Sachs, Still Life With Women And Four Objects, 1986, USA, 4 minA portrait that falls somewhere between a painting and a poem, a look at a woman’s daily routines and thoughts via an exploration of her as a ‘character’.

Lynne Sachs, Drawn and Quartered, 1986, USA, 4 minOptically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections.

Lynne Sachs, The House of Science: A Museum of False Facts, 1991, USA, 29 min
A girl’s difficult coming-of-age rituals are recast into a potent web for affirmation and growth.

Lynne Sachs and Anne Lesley Selcer, Girl is Presence, 2020, USA, 5 min
Against the uncertain and anxious pandemic atmosphere, inside domestic space, a ‘girl’ arranges and rearranges a collection of small and mysterious things.

Lynne Sachs and Moira Sweeney, Longings, 2021, USA/ Ireland, 90 seconds
A collaboration exploring the resonances and ruptures between image and language.

Lynne Sachs, Drift and Bough, 2014, USA, 6 minLynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper.

Lynne Sachs, Starfish Aorta Colossus, 2014, USA, 4 min
Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for digital sculpting of an 8mm Kodachrome canvas.

Lynne Sachs, Maya at 24, 2021, USA, 4 minLynne Sachs films her daughter Maya at 6, 16 and 24.

Lynne Sachs with and for Barbara Hammer, A Month of Single Frames, 2019, USA, 14 min
In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. She shot film and kept a journal. In 2018 Hammer, facing her own imminent death, gave her material to Lynne and invited her to make a film.


This is a free workshop, however as numbers are limited, prior booking is essential.

Please email Emer at info@aemi.ie in advance to secure a place.


Biography 
Lynne Sachs (Memphis, Tennessee, 1961) is a filmmaker and poet living in Brooklyn, New York. Her work explores the intricate relationship between personal observations and broader historical experiences by weaving together text, collage, painting, politics and layered sound design. Strongly committed to a feminist dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with every new project. Her moving image work ranges from short experimental films, to essay films to hybrid live performances. Lynne has made 37 films, including features and shorts, which have screened, won awards or been included in retrospectives at New York Film Festival, Museum of Modern Art, Sundance, Oberhausen, Viennale, Sheffield Doc/Fest, BAFICI, RIDM Montréal, Vancouver Film Festival, Doclisboa, Havana IFF, and China Women’s Film Festival. In 2014, she received the Guggenheim Fellowship in the Creative Arts.

aemi: Artist in Focus: Lynne Sachs (at the 66th Cork Film Festival)

66th Cork Film Festival
November 16-18, 2021
https://2021.corkfilmfest.org/films/aemi-artist-in-focus-lynne-sachs-615afd65aae68d005a5685ed

I will be heading to Cork International Film Festival in Ireland to present “Film About a Father Who” with 10 short films as part of their AEMI artist focus on my work. Honored to share four collaborative film poems: “Longings” made with filmmaker Moira Sweeney (who will be there with us!); “A Month of Single Frames” made with Barbara Hammer; “Girl is Presence” made with Anne Lesley Selcer; and, “Starfish Aorta Colossus” made with Paolo Javier.


Making work since the 1980s Lynne Sachs’ films have incorporated a cross-pollination of forms that extend to the essay film, documentary, collage, performance, and poetry. Deeply reflexive, Sachs’ films to date have outlined a rich interplay between the personal and the socio-political. aemi is delighted to present this overview of selected short works by Lynne Sachs at Cork International Film Festival, many of which are screening in Ireland for the first time. 

In addition to this shorts programme Lynne will also be in attendance at the festival for the Irish premiere of her celebrated feature Film About a Father Who.

CAROLEE, BARBARA & GUNVOR Lynne Sachs
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three artists who embraced the moving image throughout their lives.

STILL LIFE WITH WOMEN AND FOUR OBJECTS Lynne Sachs
A portrait that falls somewhere between a painting and a poem, a look at a woman’s daily routines and thoughts via an exploration of her as a ‘character’.

DRAWN AND QUARTERED Lynne Sachs
Optically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections.

THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS Lynne Sachs
A girl’s difficult coming-of-age rituals are recast into a potent web for affirmation and growth.

GIRL IS PRESENCE Lynne Sachs and Anne Lesley Selcer
Against the uncertain and anxious pandemic atmosphere, inside domestic space, a ‘girl’ arranges and rearranges a collection of small and mysterious things.

LONGINGS Lynne Sachs and Moira Sweeney
A collaboration exploring the resonances and ruptures between image and language.

DRIFT AND BOUGH Lynne Sachs
Lynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper.

STARFISH AORTA COLOSSUS Lynne Sachs
Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for digital sculpting of an 8mm Kodachrome canvas.

MAYA AT 24 Lynne Sachs
Lynne Sachs films her daughter Maya at 6, 16 and 24.

A MONTH OF SINGLE FRAMES Lynne Sachs with and for Barbara Hammer
In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. She shot film and kept a journal. In 2018 Hammer, facing her own imminent death, gave her material to Lynne and invited her to make a film.


aemi @ CIFF: Contested Legacies – Lynne Sachs and Myrid Carten

10 November 2021 / 8pm / Triskel Arts Centre Cinema
8pm Cinema screening and Q&A
https://aemi.ie/event/aemi-ciff-contested-legacies-lynne-sachs-and-myrid-carten/

The Irish premiere of Lynne Sachs’ celebrated feature Film About a Father Who screens here alongside the world premiere of Myrid Carten’s short film Sorrow had a baby. Both artists will be in attendance for a discussion of their work following the screening.

Both Film About a Father Who and Sorrow had a baby deal, in very different ways, with familial legacy incorporating personal archives and pushing against the traditional boundaries of documentary practice. Myrid Carten’s film Sorrow had a baby is also the first film produced through aemi’s annual film commissioning programme, supported by Arts Council of Ireland.


Myrid Carten, Sorrow had a baby,
 2021, Ireland, 16 minutesaemi Film Commission 2021
‘I absorbed the women in my life as I would chloroform on a cloth laid against my face.’ – Vivan Gornick

Sorrow had a baby explores the mother-daughter relationship through multiple lenses: memory, beauty, inheritance. Who writes the stories in a family? Who can change them?

Lynne Sachs, Film About a Father Who, 2020, USA, 74 minutesOver a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

Lynne Sachs: Criterion Octet

EXCLUSIVE STREAMING PREMIERES

WEDNESDAY, OCTOBER 13

FILM ABOUT A FATHER WHO

Featuring seven short films and a new introduction by the filmmaker

Over a period of thirty-five years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16 mm film, videotape, and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings. Like a cubist rendering of a face, Sachs’s cinematic exploration of her father offers multiple, sometimes contradictory, views of a seemingly unknowable man who is publicly the uninhibited center of the frame yet privately shrouded in mystery. With this meditation on fatherhood and masculinity, Sachs allows herself and her audience to see beneath the surface of the skin, beyond the projected reality. As the startling facts mount, she discovers more about her father than she had ever hoped to reveal.

This exclusive streaming premiere is accompanied by a selection of experimental short films by Sachs, many of which also reflect her probing exploration of family relationships

  • Which Way Is East, 1994
  • The Last Happy Day, 2009
  • Wind in Our Hair, 2010
  • The Washing Society, 2018
  • Girl Is Presence, 2020
  • E•pis•to•lar•y: Letter to Jean Vigo, 2021
  • Maya at 24, 2021

Featured in the following collections: women directors, shorts collections, exclusive streaming


Selected clips from original Criterion Channel interview with Lynne Sachs by Tara Young:

“Maya at 24” at RPM Festival

RPM Festival 2021
http://revolutionsperminutefest.org/

P06: Lucid Bodies

Wednesday, Oct.20, 7:30PM- online
Runtime: 55 mins

notes from the kingdom of the sick – Felicity Palma
Self Portrait with Bag – Dianna Barrie
Monsieur Jean-Claude – Guillaume Vallée
Maya at 24 – Lynne Sachs
Tri and Khanh – Daphne Xu
婦人 (Fujin) – Rachel Makana’aloha O Kauikeolani Nakawatase
Two Sons and a River of Blood – Amber Bemak & Angelo Madsen Minax

Post-screening Q&A
with Filmmakers & Sarah Bliss


Revolutions per Minute festival (RPM Fest) is dedicated to short-form poetic, personal, experimental film, video and audiovisual performance.

Lynne Sachs on “Into the Mothlight” Podcast

EP.32 – Lynne Sachs
10/18/2021
by Jason Moyes
https://www.intothemothlight.com/home/ep32-lynne-sachs

Since the 1980s, Lynne Sachs has created cinematic works that defy genre through the use of hybrid forms and collaboration, incorporating elements of the essay film, collage, performance, documentary and poetry.  Her films explore the intricate relationship between personal observations and broader historical experiences. With each project, she investigates the implicit connection between the body, the camera, and the materiality of film itself. 

After comprehensive career retrospectives at Sheffield Documentary festival in 2020 and the Museum of the Moving Image in New York this year, her latest feature ‘Film about a Father Who’ is being screened on the Criterion Channel along with seven other short films. Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr. a bon vivant and pioneering businessman from Park City, Utah. ‘Film About a Father Who’ is her attempt to understand the web that connects a child to her parent and a sister to her siblings. 

We chat about ‘Film About a Father Who’, her approach to experimental documentary making and living and working in San Francisco in 80’s

You can stream 8 of Lynne’s films including FILM ABOUT A FATHER WHO on the Criterion Channel here


People, places and films Lynne references include:

The work about civil disobedience is ‘Investigation of a Flame:  A Portrait of the Catonsville Nine’ (2001) 

We discuss the films that feature Lynne’s daughter Maya, including ‘Maya at 24‘ (2021) 

Photograph of wind‘ (2001) – the title taken from an expression used by the photographer Robert Frank   

And ‘Same Stream Twice‘ (2012) 

Quote from the Portuguese writer Fernando Pessoa from The Book of Disquiet

“Everything that surrounds us becomes part of us, it seeps into us with every experience of the flesh and of life and, like the web of a great Spider, binds us subtly to what is near, ensnares us in a fragile cradle of slow death, where we lie rocking in the wind.” 


People and places in San Francisco. 

Lynne worked with the Vietnamese filmmaker, writer and composer Trinh T. Minh-ha 

She learned cinematography from Babette Mangolte  who had also worked with Chantal Akerman  

A mention of Walter Benjamin, and in particular his essay ‘The Work of Art in the Age of Mechanical Reproduction’ 

She studied with the Swedish American filmmaker   Gunvor Nelson – Read Lynne’s throughs on the films of this artists here. 

The underground film maker George Kuchar 

Barbara Hammer – read about Lynne’s film ‘A Month of Single Frames’ (2019) here, and see an excerpt from ‘Carolee, Barbara & Gunvor’ here

Filmmaker and curator and her “compatriot big brother and dear dear friend Craig Baldwin and the programmes he would curate at Other Cinema  

Seeing Stan Brakhage films at the San Francisco Cinematheque and the Millennium Film Workshop (New York) 

Stan Brakhage’s annual programme at the Anthology film Archives where he included Lynne’s work ‘The House of Science: a museum of false facts’ (1991)  

Lynne mentions her husband, the filmmaker Mark Street – read about Mark here

The First Person Cinema Salon that Stan Brakhage ran in Boulder, Colorado, and showing silent works by Joseph Cornell from his own collection.  

Teaching filmmaking at the Flowchart Foundation 

And remember that you can support Into the Mothlight on Patreon here


About Into the Mothlight Podcast

Experimental film and installation artist Jason Moyes lives and works in rural Scotland and has been exploring the moving image since 2007. His work has been shown in the UK, North America, Europe and Asia. He is a founding member of the Moving Image Makers Collective.

Lynne Sachs Focus at Camera Lucida (Ecuador)

October 14-17, 2021 Loja Teatro Bolivar
November 11-19, 2021 Cuenca Teatro Sucre
November 20 – December 10, 2021 Online Ecuador 
https://www.ecamaralucida.com/2021-lynne-sachs


Program in English

Mirada Epicentro (Ceter Focus)

Authors who have made their way looking inward, achieving a work where the constant regression to aesthetic searches, thematic investigations and particular narratives, have a point at which the gaze gravitates, infects and expands.

In this edition, we are happy to share in Mirada Epicentro the work of Lynne Sachs, Bruno Varela and Ecuador de Territory, a program made up of the authors Alberto Muenala, Eriberto Gualinga and Sani Montahuano.

A Month of Single Frames
2020 – U.S.A – 14’
In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshack which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. The shack had no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal.

In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her Duneshack images, sounds and writing to filmmaker Lynne Sachs and invited her to make a film with the material.

Carolee, Barbara & Gunvor
2018 – U.S.A – 8’
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.

E•pis•to•lar•y: letter to Jean Vigo
2021 – U.S.A / España – 5’
In a cinema letter to French director Jean Vigo, Lynne Sachs ponders the delicate resonances of his 1933 classic “Zero for Conduct” in which a group of school boys wages an anarchist rebellion against their authoritarian teachers. Thinking about the Jan. 6, 2021 assault on the United States Capitol by thousands of right-wing activists, Sachs wonders how innocent play or calculated protest can turn so quickly into chaos and violence.

Drawn and Quartered
1987 – U.S.A – 4’
Optically printed images of a man and a woman are fragmented by a film frame that is divided into four distinct sections. An experiment in form/content relationships that are peculiar to the medium, 1987

Film About a Father Who
2020 – U.S.A – 74’
Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. FILM ABOUT A FATHER WHO is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

Following the Object to its Logical Beginning
1987 – U.S.A – 9’
Like an animal in one of Eadweard Muybridge’s scientific photo experiments, five undramatic moments in a man’s life are observed by a woman. A study in visual obsession and a twist on the notion of the “gaze”.

Maya at 24
2021 – U.S.A – 4’
Lynne Sachs films her daughter Maya in 16mm black and white film, at ages 6, 16 and 24. At each iteration, Maya runs around her mother, in a circle – clockwise – as if propelling herself in the same direction as time, forward. Conscious of the strange simultaneous temporal landscape that only film can convey, we watch Maya in motion at each distinct age.

Photograph on Wind
2001 – U.S.A – 4’
My daughter’s name is Maya.  I’ve been told that the word maya means illusion in Hindu philosophy.  As I watch her growing up, spinning like a top around me, I realize that her childhood is not something I can grasp but rather  – like the wind – something I feel tenderly brushing across my cheek.

Same Stream Twice
2012 – U.S.A – 4’
In 2001, I photographed her at six years old, spinning like a top around me. Even then, I realized that her childhood was not something I could grasp but rather – like the wind – something I could feel tenderly brushing across my cheek.

Still Life with Woman and Four Objects
1986 – U.S.A – 4’
A film portrait that falls somewhere between a painting and a prose poem, a look at a woman’s daily routines and thoughts via an exploration of her as a “character”. By interweaving threads of history and fiction, the film is also a tribute to a real woman – Emma Goldman, 1986 .

The house of science: a museum of false facts
1991 – U.S.A – 30’
Offering a new feminized film form, this piece explores both art and science’s representation of women, combining home movies, personal remembrances, staged scenes and found footage into an intricate visual and aural college. A girl’s sometimes difficult coming of age rituals are recast into a potent web for affirmation and growth.

Viva and Felix Growing Up 
2015 – U.S.A – 10’
Capturing fragments of the first three years of her twin niece’s and nephew’s lives with their two dads (her brother Ira Sachs and his husband Boris Torres) and their mom (Kirsten Johnson), Sachs affectionately surveys the construction of family.

Which way is east
Lynne Sachs / Dana Sachs
1994 – U.S.A – 33’
When two American sisters travel north from Ho Chi Minh City to Hanoi, conversations with Vietnamese strangers and friends reveal to them the flip side of a shared history.  Lynne and Dana Sachs’ travel diary of their trip to Vietnam is a collection of tourism, city life, culture clash, and historic inquiry that’s put together with the warmth of a quilt.  “Which Way Is East” starts as a road trip and flowers into a political discourse.  It combines Vietnamese parables, history and memories of the people the sisters met, as well as their own childhood memories of the war on TV.  To Americans for whom “Vietnam” ended in 1975, “Which Way Is East” is a reminder that Vietnam is a country, not a war.  The film has a combination of qualities: compassion, acute observational skills, an understanding of history’s scope, and a critical ability to discern what’s missing from the textbooks and TV news. (from The Independent Film and Video Monthly, Susan Gerhard)


Program in Spanish

Mirada Epicentro

Autoras y autores que han labrado su camino mirando hacia dentro, logrando una obra donde la regresión constante a búsquedas estéticas, investigaciones temáticas y narrativas particulares, disponen un punto en el cual la mirada gravita, se contagia y se expande.

En esta edición, nos alegramos compartir en Mirada Epicentro la obra de Lynne Sachs, Bruno Varela y Ecuador de territorio, un programa conformado por los autores Alberto Muenala, Eriberto Gualinga y Sani Montahuano. 

A Month of Single Frames
2020 – U.S.A – 14’
En 1998, la cineasta Barbara Hammer tuvo una residencia artística de un mes en Cape Cod, Massachusetts. La choza no tenía agua corriente ni electricidad. Mientras estuvo allí, filmó una película de 16 mm, grabó sonidos y llevó un diario. En 2018, Barbara comenzó su propio proceso de muerte revisando su archivo personal. Ella le dio todas sus imágenes, sonidos y escritura de la residencia a la cineasta Lynne Sachs y la invitó a hacer una película.

Carolee, Barbara & Gunvor
2018 – U.S.A – 8’
De 2015 a 2017, Lynne visitó a Carolee Schneemann, Barbara Hammer y Gunvor Nelson, tres artistas multifacéticos que han abrazado la imagen en movimiento a lo largo de sus vidas. Desde la casa del siglo XVIII de Carolee en los bosques del norte del estado de Nueva York hasta el estudio de Barbara en West Village y el pueblo de la infancia de Gunvor en Suecia, Lynne graba una película con cada mujer en el lugar donde encuentra la base y la chispa.

E•pis•to•lar•y: letter to Jean Vigo
2021 – U.S.A / España – 5’
En una epistolar fílmica dirigida al director francés Jean Vigo, Lynne Sachs reflexiona sobre su clásico de 1933 “Zero for Conduct”, en el que los escolares libran una rebelión anarquista contra sus maestros autoritarios. Al pensar en el asalto del 6 de enero de 2021 al Capitolio de los EE. UU. Por parte de activistas de derecha, Sachs se pregunta cómo un juego inocente o una protesta calculada pueden convertirse tan rápidamente en caos y violencia.

Drawn and Quartered
1987 – U.S.A – 4’
Imágenes impresas ópticamente de un hombre y una mujer fragmentadas por un fotograma de película que se divide en cuatro secciones distintas. Un experimento en las relaciones forma / contenido que son peculiares del medio, 1987.

Film About a Father Who
2020 – U.S.A – 74’
Desde 1984 al 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. Con un guiño a las representaciones cubistas de un rostro, la exploración de Sachas ofrece visiones simultáneas y a veces contradictorias de un hombre aparentemente incognocible que públicamente se ubica de forma desinhibida en el centro del encueadre, pero en lo privado se refugia en secretos.

Following the Object to its Logical Beginning
1987 – U.S.A – 9’
Como un animal en uno de los experimentos fotográficos científicos de Eadweard Muybridge, una mujer observa cinco momentos poco dramáticos en la vida de un hombre. Un estudio sobre la obsesión visual y un giro en la noción de “mirada”.

Maya at 24
2021 – U.S.A – 4’
Conscientes del extraño paisaje temporal simultáneo que solo el cine puede transmitir, vemos a Maya en movimiento en cada época distinta.

Photograph on Wind
2001 – U.S.A – 4’
El nombre de mi hija es Maya. Me han dicho que la palabra maya significa ilusión en la filosofía hindú. Mientras la veo crecer, girando como una peonza a mi alrededor, me doy cuenta de que su infancia no es algo que pueda comprender, sino más bien, como el viento, algo que siento acariciar con ternura mi mejilla.

Same Stream Twice
2012 – U.S.A – 4’
En 2001, la fotografié a los seis años, girando como una peonza a mi alrededor. Incluso entonces, me di cuenta de que su infancia no era algo que pudiera comprender, sino más bien, como el viento, algo que podía sentir con ternura rozando mi mejilla.

Still Life with Woman and Four Objects
1986 – U.S.A – 4’
Un retrato cinematográfico que se sitúa entre una pintura y un poema en prosa, una mirada a las rutinas y pensamientos diarios de una mujer a través de una exploración de ella como un “personaje”. Al entrelazar hilos de historia y ficción, la película también es un homenaje a una mujer real: Emma Goldman, 1986.

The house of science: a museum of false facts
1991 – U.S.A – 30’
Ofreciendo una nueva forma de película feminizada, esta pieza explora la representación de las mujeres tanto en el arte como en la ciencia, combinando películas caseras, recuerdos personales, escenas escénicas y metraje encontrado en una intrincada universidad visual y auditiva. Los rituales de mayoría de edad a veces difíciles de una niña se reconvierten en una potente red de afirmación y crecimiento.

Viva and Felix Growing Up 
2015 – U.S.A – 10’
Durante los primeros tres años de la vida de mi sobrino y mi sobrina gemela, usé mi cámara Bolex de 16 mm para filmarlos mientras crecían en la ciudad de Nueva York con sus dos papás (mi hermano Ira Sachs y su esposo Boris Torres) y su mamá (Kirsten Johnson). . La película termina con un abrazo por el Día del Orgullo Gay.

Which way is east
Lynne Sachs / Dana Sachs
1994 – U.S.A – 33’
Cuando dos hermanas estadounidenses viajan al norte desde la ciudad de Ho Chi Minh a Hanoi, las conversaciones con desconocidos y amigos vietnamitas les revelan la otra cara de una historia compartida.

The Film Stage – “New to Streaming: The Velvet Underground, Lynne Sachs, I’m Your Man, Copshop & More “

New to Streaming: The Velvet Underground, Lynne Sachs, I’m Your Man, Copshop & More
The Film Stage
By Jordan Raup
October 15, 2021
https://thefilmstage.com/new-to-streaming-the-velvet-underground-lynne-sachs-im-your-man-copshop-more/

Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.

Censor (Prano Bailey-Bond)
It is hard to think of a recent horror film––or a film of any genre, really––in which the main character is tasked with a job as original and ingenious as Enid Baines, the protagonist of Prano Bailey-Bond’s riveting Censor. She is, yes, the titular censor. It is 1980s England, the time of “video nasties” that drew parental consternation and tabloid outrage. These were the low-budget, ultra-violent VHS cassettes that earned their own category in the collective consciousness. Not all were UK productions––I Spit On Your Grave and Abel Ferrara’s Driller Killer made the list. In Censor, however, the nasties are homegrown, in more ways than one.  Chris S. (full review)
Where to Stream: Hulu

Copshop (Joe Carnahan)
It’d be hard to argue Joe Carnahan isn’t permanently stuck in 1997. Operating well past the point where dozens upon dozens of Tarantino knockoffs were inescapable on video store shelves and in shoebox auditoriums across America, he seems, if anything, intent on morphing the ’90s aesthetic into a new form of classicism for the 21st century. As the kind of guy who still finds slow-motion gunfights cool a full three decades after Hollywood caught wind of Hard Boiled, it’s nice he at least believes in a tangible, quasi-human cinema. – Ethan V. (full review)
Where to Stream: VOD

Film About a Father Who and More Films by Lynne Sachs
Along with her new documentary Film About a Father Who, The Criterion Channel is featuring seven shorts from director Lynne Sachs, including Which Way Is East (1994), The Last Happy Day (2009), Wind in Our Hair (2010), The Washing Society (2018), Girl Is Presence (2020), E•pis•to•lar•y: Letter to Jean Vigo (2021), and Maya at 24 (2021). Jared Mobarak said in his review of her latest feature, “While director Lynne Sachs admits her latest documentary Film About a Father Who could be superficially construed as a portrait (the title alludes to and the content revolves around her father Ira), she labels it a reckoning instead. With thirty-five years of footage shot across varied formats and devices to cull through and piece together, the result becomes less about providing a clear picture of who this man is and more about understanding the cost of his actions. Whether it began that way or not, however, it surely didn’t take long to realize how deep a drop the rabbit hole of his life would prove. Sachs jumped in to discover truths surrounding her childhood only to fall through numerous false bottoms that revealed truths she couldn’t even imagine.”
Where to Stream: The Criterion Channel

Gunda (Victor Kossakovsky)
In 2018, Victor Kossakovsky set out to shoot Aquarela, a survey-symphony that took the Russian documentarian around the world to capture glaciers, waterfalls, frozen lakes, oceans, and storms. Water, art-speak waffle as it may sound, served as Aquarela’s only protagonist: in that hyper-high-definition blue canvas, human faces seldom popped up, and voices were seldom heard, as Kossakovsky’s focus centered squarely on his liquid star alone.  A mystifying follow-up working again to question and depart from an anthropocentric perspective, here comes Gunda, a black-and-white, dialogue-free documentary chronicling a few months in the lives of the animals stranded in a Norwegian farm. – Leonardo G. (full review)Where to Stream: Hulu

I’m Your Man (Maria Schrader)
Falling in love with a robot isn’t good news, as Her and Blade Runner (both 2019 and 2049) tell us. In I’m Your Man, unspooling in competition at Berlin, a forty-something museum director (Maren Eggert) is justifiably nervous—she’s in a film named after a Leonard Cohen track, which is only asking for trouble—when asked to try out a new romantic partner. That’s because this is a “humanoid robot,” Tom, algorithmically aligned to her romantic preferences and played by dashing English actor Dan Stevens in a performance in which he impressively speaks fluent German. – Ed F. (full review)
Where to Stream: VOD

Needle in a Timestack (John Ridley)
For a movie about a fated love (Leslie Odom Jr.’s Nick and Cynthia Erivo’s Janine) being undermined by a jealous ex (Orlando Bloom’s Tommy), I didn’t expect to witness a scene towards the start where the latter philosophically (and selfishly) attempts to legitimize his sabotage by explaining how every love is, by definition, another’s missed opportunity. He points out a random woman in the bar and tells Nick that whomever she falls for will be the lucky one of millions, setting off a chain reaction that diverts all the other men and women destined to have crossed her path as suitable partners somewhere else instead. The sentiment is intriguing and full of possibilities well outside the scope of what appeared to be a run-of-the-mill, time travel romance. – Jared M. (full review)
Where to Stream: VOD

Rat Film (Theo Anthony)
It’s not often that a documentary with such a clear focus surprises and unnerves you. Rat Film, directed by Theo Anthony, finds its narrative in the parallel between rat-control efforts in Baltimore and the redlining that has kept certain neighborhoods in the city locked in poverty and crime. With a passionate attention to historical detail and nuance that is belied by the robotic narration of Maureen Jones, the film seduces the audience into following its train of thought through moments and ideas both grotesque and harrowing. Some of the tangents and paths of thought that Rat Film travels are surreal to the point of abstraction, but at the end of it all your view of urban development and its impact on human lives will have been fundamentally altered for the better. – Brian R.
Where to Stream: The Criterion Channel

The Velvet Underground (Todd Haynes)
If you told people in 1967 that Andy Warhol’s house band just released one of the most revered rock albums of all-time, they would ask what they’re called, and when you told them they would laugh. As far as the public was concerned, there were a hundred acts capable of that historical success in the ‘60s, and none were called the Velvet Underground (or Nico). To a certain extent they would be right. It would be another decade before the banana-adorned The Velvet Underground & Nico would have its pop cultural comeuppance and over half a century before the glam avant-garde group would receive definitive documentary treatment by one of the best living filmmakers. But as history and said doc have proven, we would have the last laugh in that exchange. – Luke H. (full review)
Where to Stream: Apple TV+

Also New to Streaming
MUBI (free for 30 days)
The Third Lover
Landru 
Moving On
In Search of the Famine
Corporate Accountability
I Like Life a Lot
Two Gods