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.
“For more than thirty years, artist Lynne Sachs has constructed short, bold mid-length, and feature films incorporating elements of the essay film, collage, performance, and observational documentary. Her highly self-reflexive films have variously explored the relations between the body, camera, and the materiality of film itself; histories of personal, social, and political trauma; marginalized communities and their labor; and her own family life, slipping seamlessly between modes, from documentary essays to diaristic shorts.” (Edo Choi, Assistant Curator of Film, Museum of the Moving Image)
Note: The following programs can be rented individually or as a package. A new video interview and between Lynne Sachs and series curator Edo Choi is also available as part of the rental fee.
For rental and pricing information, please contact: email@example.com
All films are directed by Lynne Sachs. Program notes by Edo Choi.
Program 1: Early Dissections In her first three films, Sachs performs an exuberant autopsy of the medium itself, reveling in the investigation of its formal possibilities and cultural implications: the disjunctive layering of visual and verbal phrases in Still Life with Woman and Four Objects; un-split regular 8mm film as a metaphorical body and site of intercourse in the optically printed Drawn and Quartered; the scopophilic and gendered intentions of the camera’s gaze in Following the Object to Its Logical Beginning. These experiments anticipate the range of the artist’s mature work, beginning with her first essayistic collage The House of Science: a museum of false facts. Itself an autopsy, this mid-length film exposes the anatomy of western rationalism as a framework for sexual subjugation via a finely stitched patchwork of sounds and images from artistic renderings to archival films, home movies to staged performances.
Still Life with Woman and Four Objects (1986, 4 mins.) –New HD transfer Drawn and Quartered (1987, 4 mins.) – new HD transfer Following the Object to Its Logical Beginning (1987, 9 mins.) The House of Science: a museum of false facts (1991, 30 mins.) – new HD transfer
Program 2: Family Travels One of Lynne Sachs’s most sheerly beautiful films, Which Way Is East is a simultaneously intoxicating and politically sobering diary of encounters with the sights, sounds, and people of Vietnam, as Sachs pays a visit to her sister Dana and the two set off north from Ho Chi Minh City to Hanoi. The film is paired here with a very different kind of family journey The Last Happy Day, recounting the life of Sachs’s distant cousin Sandor Lenard, a Jewish Hungarian doctor who survived the Second World War and was ultimately hired to reassemble the bones of dead American soldiers. Here Sachs journeys through time as opposed to space, as she assembles a typically colorful array of documentary and performative elements, including Sandor’s letters, a children’s performance, and highly abstracted war footage, to bring us closer to a man who bore witness to terrible things. This program also features The Last Happy Day’s brief predecessor, The Small Ones. Program running time: 73 mins.
Which Way Is East: Notebooks from Vietnam (1994, 33 mins.) – new HD transfer The Small Ones (2007, 3 mins.) The Last Happy Day (2009, 37 mins.)
Program 3: Time Passes Twenty years unspool over nine short films: portraits of Lynne Sachs’s children; visits with her mother, brother, niece and nephew; a tribute to the city where she lives; and scenes of sociopolitical trauma and protest. Nearly all shot on super 8mm or 16mm, and often silent, each work is at once a preservation of a moment and a record of change, seamlessly weaving together the candid and the performed gesture, the public and the private memory, in a simultaneously objective and subjective posture toward the passing of time. Program running time: 51 mins.
Photograph of Wind (2001, 4 mins.) Tornado (2002, 4 mins.) Noa, Noa (2006, 8 mins.) Georgic for a Forgotten Planet (2008, 11 mins.) Same Stream Twice (2012, 4 mins.) Viva and Felix Growing Up (2015, 10 mins.) Day Residue (2016, 3 mins.) And Then We Marched (2017, 3 mins.) Maya at 24 (2021, 4 mins.)
Program 4: Your Day Is My Night 2013, 64 mins. “This bed doesn’t necessarily belong to any one person,” someone says early in Your Day Is My Night. It could be the metaphorical thesis of this film, perhaps Lynne Sachs’s most self-effacing and meditative work. A seamless blend of closely observed verité footage, interpretive performance, and confessional monologues and interviews, the film doesn’t document so much as create a space to accommodate the stories and experiences of seven Chinese immigrants from ages 58 to 78 who live together in a “shift-bed” apartment in Manhattan’s Chinatown. Sachs’s quilted sense of form achieves a new level of refinement and delicacy in collaboration with her cameraman Sean Hanley and her editor Amanda Katz, as she works with the participants to exhume a collective history of migration and struggle.
Program 5: Tip of My Tongue 2017, 80 mins. Sachs’s richly generative Tip of My Tongue finds the filmmaker responding to her 50th birthday by gathering twelve members of her generational cohort—friends and peers all born between 1958 and 1964, and originating as far as Cuba, Iran, and Australia—to participate in the creation of a choral work about the convergent and divergent effects history leaves upon those who live it. From the Kennedy assassination to Occupy Wall Street, the participants reveal their memories of, and reflections upon, the transformative experiences of their lives. Set to an ecstatic, pulsing score by Stephen Vitiello, the film interweaves these personal confessions with impressionistic images of contemporary New York, obscured glimpses of archival footage, and graphically rendered fragments of text to create a radiant prism of collective memory. Preceded by Sachs’s frantic record of accumulated daily to-do lists, A Year in Notes and Numbers (2018, 4 mins.).
Fresh from her early 2021 retrospective at New York City’s Museum of the Moving Image, filmmaker Lynne Sachs returns to San Francisco where she lived and went to school (SFSU & SFAI) between 1985 and ‘95. It was here that Lynne really immersed herself in our city’s experimental and documentary community, working closely with local artists Craig Baldwin, Bruce Conner, Barbara Hammer, Gunvor Nelson and Trinh T. Minh-ha and spending time at the Film Arts Foundation (RIP), Canyon Cinema, SF Cinematheque, and Other Cinema.
“For more than thirty years, artist Lynne Sachs has constructed short, bold mid-length, and feature films incorporating elements of the essay film, collage, performance, and observational documentary. Her highly self-reflexive films have variously explored the relations between the body, camera, and the materiality of film itself; histories of personal, social, and political conflict; marginalized communities and their labor; and her own family life, slipping seamlessly between modes, from documentary essays to diaristic shorts.” – Edo Choi, Assistant Curator of Film, Museum of the Moving Image.
Accompanying our Bay Area premiere of Sachs’s Film About a Father Who, the Roxie offers two accompanying shorts sidebars programmed by filmmaker and Other Cinema curator Craig Baldwin.
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. (74 min., 2020, A Cinema Guild Release)
Critic’s Pick! “[A] brisk, prismatic and richly psychodramatic family portrait.” – Ben Kenigsberg, The New York Times
“Sachs achieves a poetic resignation about unknowability inside families, and the hidden roots never explained from looking at a family tree.” – Robert Abele, Los Angeles Times
“Formidable in its candor and ambition.” – Jonathan Romney, Screen International
Tickets for FILM ABOUT A FATHER WHO will be available on February 12
SACHS SHORTS SIDEBARS
Sidebar 1: INQUIRIES INTO SELF AND OTHER
Still from “The House of Science: a museum of false facts”
Still Life with Woman and Four Objects (4 min., 1986) Sermons and Sacred Pictures (29 min., 1989) The House of Science: a museum of false facts (30 min., 1991) Which Way Is East: Notebooks from Vietnam (made with Dana Sachs) (33 min., 1994)
“As sidebar to her fresh Father feature, here is the first of two shorts programs, showcasing the astonishing cinematic artistry of Lynne Sachs…all made during her san fran years and recently digitally restored. Her ‘89 Sermons offers an early glimmer of her sensitivity to both marginalized communities and their archives, as she gracefully threads ultra-rare ‘30s & ’40s footage from Rev. LO Taylor into a tapestry of visibility and respect for Memphis’ Black community. Her facility for celluloid extrapolation is demonstrated in even more creative ways in House of Science, a personal essay on female identity, told through found footage, poetic text, and playful experimental technique. Which Way is East raises its eyes to engagements in international waters, and to insightful exchanges with her expat sister Dana, towards new understandings of and in the oh-so-historically charged Republic of Vietnam. Opening is Lynne’s first ever 16mm, Still Life.” – CB
TRT: 96 min.
Tickets for Sidebar 1: INQUIRIES INTO SELF AND OTHER will be available on February 12
Sidebar 2: PROFILES IN COURAGE
A Month of Single Frames (for Barbara Hammer) (14 min., 2019) Investigation of a Flame (45 min., 2001) And Then We Marched (4 min., 2017) The Washing Society (co-directed with Lizzie Olesker) (44 min., 2018)
“Characteristically, Sachs speaks in first person to cultural difference and dissent, here particularly valorizing acts of resistance and struggles for justice. Her collaboration with the recently deceased lesbian maker Barbara Hammer keynotes this ‘Solidarity’ set, with Lynne literally framing/finishing her mentor’s last project. Younger allies are also acknowledged in Sachs’ inspiring 2017 celebration of women’s political power on contested Washington, DC turf. The 2001 Investigation is a tribute to the courage and conscience of the epochal Berrigan-led burning of Baltimore draft records, made while Sachs was teaching in that town. And the local debut of The Washing Society, produced with playwright Lizzie Olesker, stakes their support of NYC’s low-paid laundry workers—mostly women of color—in even another radiant illumination of the little-seen truths of contemporary race/class inequity.” – CB
TRT: 107 min.
Tickets for Sidebar 2: PROFILES IN COURAGE will be available on February 12
Lynne Sachs: Between Thought and Expression
January 13–31, 2021
For more than thirty years, artist Lynne Sachs has constructed short, bold mid-length, and feature films incorporating elements of the essay film, collage, performance, and observational documentary. Her highly self-reflexive films have variously explored the relations between the body, camera, and the materiality of film itself; histories of personal, social, and political trauma; marginalized communities and their labor; and her own family life, slipping seamlessly between modes, from documentary essays to diaristic shorts. On the occasion of her latest feature, Film About a Father Who, a kaleidoscopic portrait of the artist’s maddeningly mercurial father, the Museum is pleased to present a career-ranging survey of Sachs’s work, including new HD presentations of Drawn and Quartered, The House of Science: a museum of false facts, and Which Way Is East: Notebooks from Vietnam, as well as the premiere of Maya at 24, the third edition of Sach’s temporal portrait of her daughter.
Organized by Assistant Curator of Film Edo Choi. Special thanks to Canyon Cinema and Cinema Guild for their support in organizing this program.
All films will be presented in MoMI’s Virtual Cinema, including a new video interview between Lynne Sachs and Edo Choi, which will be available exclusively to ticket holders.
Tickets: An all-series pass (including Film About a Father Who) is available for $30 ($26 MoMI members). A pass for just the repertory portion is $20 ($16 members) / individual program tickets are $5. Tickets for Film About a Father Who are $12 ($10 members).
All films are directed by Lynne Sachs.
Program 1: Early Dissections
In her first three films, Sachs performs an exuberant autopsy of the medium itself, reveling in the investigation of its formal possibilities and cultural implications: the disjunctive layering of visual and verbal phrases in Still Life with Woman and Four Objects; un-split regular 8mm film as a metaphorical body and site of intercourse in the optically printed Drawn and Quartered; the scopophilic and gendered intentions of the camera’s gaze in Following the Object to Its Logical Beginning. These experiments anticipate the range of the artist’s mature work, beginning with her first essayistic collage The House of Science: a museum of false facts. Itself an autopsy, this mid-length film exposes the anatomy of western rationalism as a framework for sexual subjugation via a finely stitched patchwork of sounds and images from artistic renderings to archival films, home movies to staged performances.
Still Life with Woman and Four Objects (1986, 4 mins.) Drawn and Quartered (1987, 4 mins. New HD presentation) Following the Object to Its Logical Beginning (1987, 9 mins.) The House of Science: a museum of false facts (1991, 30 mins. New HD presentation)
Program 2: Family Travels
One of Lynne Sachs’s most sheerly beautiful films, Which Way Is East is a simultaneously intoxicating and politically sobering diary of encounters with the sights, sounds, and people of Vietnam, as Sachs pays a visit to her sister Dana and the two set off north from Ho Chi Minh City to Hanoi. The film is paired here with a very different kind of family journey The Last Happy Day, recounting the life of Sachs’s distant cousin Sandor Lenard, a Jewish Hungarian doctor who survived the Second World War and was ultimately hired to reassemble the bones of dead American soldiers. Here Sachs journeys through time as opposed to space, as she assembles a typically colorful array of documentary and performative elements, including Sandor’s letters, a children’s performance, and highly abstracted war footage, to bring us closer to a man who bore witness to terrible things. This program also features The Last Happy Day’s brief predecessor, The Small Ones. Program running time: 73 mins.
Which Way Is East: Notebooks from Vietnam (1994, 33 mins. New HD presentation) The Small Ones (2007, 3 mins.) The Last Happy Day (2009, 37 mins.)
Program 3: Time Passes
Twenty years unspool over nine short films: portraits of Lynne Sachs’s children; visits with her mother, brother, niece and nephew; a tribute to the city where she lives; and scenes of sociopolitical trauma and protest. Nearly all shot on super 8mm or 16mm, and often silent, each work is at once a preservation of a moment and a record of change, seamlessly weaving together the candid and the performed gesture, the public and the private memory, in a simultaneously objective and subjective posture toward the passing of time. Program running time: 51 mins.
Photograph of Wind (2001, 4 mins.) Tornado (2002, 4 mins.) Noa, Noa (2006, 8 mins.) Georgic for a Forgotten Planet (2008, 11 mins.) Same Stream Twice (2012, 4 mins.) Viva and Felix Growing Up (2015, 10 mins.) Day Residue (2016, 3 mins.) And Then We Marched (2017, 3 mins.) Maya at 24 (2021, 4 mins. World premiere)
Program 4: Your Day Is My Night
2013, 64 mins. “This bed doesn’t necessarily belong to any one person,” someone says early in Your Day Is My Night. It could be the metaphorical thesis of this film, perhaps Lynne Sachs’s most self-effacing and meditative work. A seamless blend of closely observed verité footage, interpretive performance, and confessional monologues and interviews, the film doesn’t document so much as create a space to accommodate the stories and experiences of seven Chinese immigrants from ages 58 to 78 who live together in a “shift-bed” apartment in Manhattan’s Chinatown. Sachs’s quilted sense of form achieves a new level of refinement and delicacy in collaboration with her cameraman Sean Hanley and her editor Amanda Katz, as she works with the participants to exhume a collective history of migration and struggle.
Program 5: Tip of My Tongue
2017, 80 mins. Sachs’s richly generative Tip of My Tongue finds the filmmaker responding to her 50th birthday by gathering twelve members of her generational cohort—friends and peers all born between 1958 and 1964, and originating as far as Cuba, Iran, and Australia—to participate in the creation of a choral work about the convergent and divergent effects history leaves upon those who live it. From the Kennedy assassination to Occupy Wall Street, the participants reveal their memories of, and reflections upon, the transformative experiences of their lives. Set to an ecstatic, pulsing score by Stephen Vitiello, the film interweaves these personal confessions with impressionistic images of contemporary New York, obscured glimpses of archival footage, and graphically rendered fragments of text to create a radiant prism of collective memory. Preceded by Sachs’s frantic record of accumulated daily to-do lists, A Year in Notes and Numbers (2018, 4 mins.).
When Lynne Sachs agreed to meet me on Skype, I was equally excited and nervous: excited, because I had just seen several of her movies, which left me feeling like I had entered a whole new world of visual and verbal language. Nervous, because her knowledge and experience in experimental/essay/documentary cinema were vast compared to mine. Nevertheless, we agreed on a meeting and it was one of the most honest and inspiring conversations I have had on film. I began the conversation by briefly introducing myself. I am a PhD student in a biology lab, where I often conduct experiments. Perhaps that is why I’m so drawn to experimental film, especially Lynne’s work.
Lynne Sachs: What you do in your lab – which is to dive into the unknown by using materials you understand, without knowing what will happen when they come together, without a script for what the results will be – shares something with experimental filmmaking. Although, as you might already know, Jonas Mekas didn’t like the term experimental. It is kind of like saying you’re an atheist, meaning you define yourself by what you’re not, so I understand, he just says: “I make films”.
Tijana Perović: Do you feel ok with the term experimental?
I personally do. I think it turns the noun into a verb because it says that the entity itself is devolving and can’t be made from a template. I like it and I think it’s liberating.
How did you get into filmmaking?
I definitely didn’t grow up watching personal art films, made by women. I hardly knew that women were making movies. But I always have written poetry and I always did a lot of art. In university, I pursued something that you might call more academic. I was a history major, but I did a lot of studio art. So in that time, when I was at university, I took a year, I went to Paris and I discovered Chantal Akerman and Marguerite Duras. This changed me. I realized that you can make films from this place of experience, or you can bring your attention to the small things in life. You could also bring in some politics or a change for women, etc.
In a sense, I got a chance to see that a film could be a vessel and that you could throw whatever you want into it and make your own recipe or idea. That was really exciting to me and a revelation. After college, I moved to New York and I started taking classes in Super 8 and video. I ended up going to graduate school in San Francisco. That was such a transformative experience, because there were so many people there.
You know Gunvor Nelson’s films? Gunvor was a teacher of mine. In fact, Carolee Schneeman, Gunvor Nelson and Barbara Hammer were all living in San Francisco at the time. Such powerful women. Powerful in a poetic way. Do you know George Kuchar’s films? They are very rowdy and irreverent. Craig Baldwin was also there. He is a filmmaker, quite renowned, almost all of his work is made from found footage. But he also has a small, still existent, screening space, called Other Cinema. It is just like a store front. And I spent almost every Saturday there, from 1987 to 1994, and that’s actually where my husband Mark Street and I met. It was a scene and that’s how I educated myself on film. I was not the kind of person who stayed up watching all the famous fiction films on TV until midnight. I hadn’t even seen Citizen Kane until I was in my mid-twenties. Now I am interested in all of film history, but that is not what brought me to this kind of filmmaking.
Funny that you mention that, because I just watched Jeanne Dielman 10 days ago.
I actually was thinking about Chantal Akerman, two days ago, because of our quarantine. Have you seen her film Là-bas (2006)? She went to Tel Aviv, to do some teaching there. It was during a very heightened period of violence, in Israel/Palestine, so she made the whole film from her window. To me, it’s very timely to think about the window as a frame in its relationship to the film frame. The thing about long films like Jeanne Dielman is their stature. You need to spend almost four hours with her film. But think about a book. When you read a book, you need to spend two weeks with it! Four hours really shouldn’t be a big thing.
What is really interesting for me in your movies is that in each one of them there is an idea, but it flowers, it grows. In your experience, how does this idea change during the process of actual moviemaking and in editing?
Sometimes when I make a film, it starts with the material. Is there any particular film on your mind?
Then I’ll talk about The House of Science. That actually started with the collages which are in the movie. It started with the idea that I felt alienated from my own body. And I probably felt that way for most of my life, maybe until I had a baby. I wanted to move through the world almost invisibly. I don’t think that if I were 30 today, I’d make the same film. But in 1991, I felt frustrated with how my culture was constructing me. Not with the feminism, 1st wave, 2nd wave – rather as I moved through the culture and I felt this alienation from the world of science. But then it became an equal distaste for art, while I was making it. So, that was a film where I said, any idea that comes to my head will go into the film. I called it a yes film. That film is a film essay. What defines a film essay is that you are at ease with including your doubt.
So you have this idea, and it is kind of a manifesto, but it isn’t really a manifesto because you are always second guessing yourself. In a sense, you have to have more confidence in what you say by including your doubt. If you didn’t, then it would be dogma or didactic. That film really came out of an idea. Did you see And Then We Marched? It is a super short film I made after the women’s march. I didn’t have a particular idea. I had collected Super 8 film from the 2017 Women’s March, and I wanted to do something with it. I didn’t want to just document it because I thought a lot of people are already doing that. I thought I needed to shake up my understanding of what that march was, and the only way I could do that was to talk to a child. That’s been common in a lot of my work. I struggled to make The Last Happy Day for years and years, until I started to work with some children.
Also Wind in Our Hair, the film I made in Argentina. Sometimes working with kids doesn’t infantalize the situation, but it allows you to experiment more and listen to the materials more and to be surprised. Maybe it’s because I had two daughters and I brought them along. But I am also very intrigued by what children bring to it perceptually. So to take something as large as the Women’s March of 2017, and to think about it from that perspective was very invigorating and turned it into something more immediate. In the end, the Women’s March sadly did not have that much impact. It was like a plaintiff call, so it did connect all of us, but it didn’t bring structural change. It brought bonding amongst kindred spirits. When I’m making a film, I often have to figure out how can an idea that I had years ago can resonate today.
Last night, at 3:30 in the morning, I woke up. We’re not as active these days during the quarantine so sleeping is strange. I got up and I took a bath. But then I had this idea for a film I have been working on for many years. It is called The Company We Keep. It comes from an English expression, often you are judged by the people your are around, “the company that you keep.” Some people use this expression in a rather judgemental way. Over many years, I’ve collected business cards, so I have about 500 of them. I’ve scanned most of them. I want to make this film kind of like an animated film where we go through them. The purpose of a business (calling) card is to be a mnemonic device. Surprisingly, I can remember a little bit about almost all of those people. I am playing with the idea of how these cards trigger something, not just what I remember, but how I understand myself in relationship to them. When you look at the cards, you remember who you were when you connected with that person, but also something about them.
Last night, I wrote myself a note. Most of the people whose business cards I have kept are in a group of people I will probably never know. But in the present, there is another group of people I will never know. These are the people whom I’m hearing about who died from the coronavirus. Recently, a friend of my daughter’s told us about two African American men in her neighborhood in Brooklyn. They were quite old, already retired. For years, they would sit on the stairs (what we call here the stoop) and talk to everybody on the block. Both of them died. Then another man I know lost a brother who was autistic. As you hear those stories, you imagine those people, you imagine them almost like a cut-out, paper-doll. You imagine their shape but they are gone. I wanted to weave that into this short film, because it makes it more vital to me now.
What is your definition of feminist filmmaking?
Many years ago, when I was in grad school, we would take turns shooting each other’s movies. A woman asked me to shoot her film, which I was excited about. We were on her set but I didn’t think that what she was espousing my concept of feminism. Even though I was very honored to be her cinematographer, I could not accept the imagery that she was creating and wanted me to co-create. I have been hesitant to shoot other people’s films ever since. This was the time when I realized that we talk about feminism in terms of holding the camera in addition to how the images of women’s bodies are constructed. I don’t cheer just because a woman gets an Academy Award. I am not actually even necessarily happy that Joe Biden has already announced that he will choose a woman. I feel like he did that as a political ploy. I am happy that he is going to choose a woman, but is that why he chose this woman? I think that a feminist approach to filmmaking takes the responsibility for the representation of women, but for me it must be broader than that. It has sensitivity to other categories of identification, whether you are talking about gender identity, etc.
I loved your talk for the Ann Arbor Festival. I especially agreed when you said that Godard has challenged the film world in many ways, but never in terms of the representation of women. So, who were your favorite feminist filmmakers and your inspirations?
Definitely all three of the women in my film Carolee, Barbara, Gunvor. Each one for different reasons. I would say that they run the gamut of different approaches within the sector of personal filmmaking. I think Barbara Hammer and Carolee Schneemann were particularly at ease with their own bodies. Carolee challenged feminism in a profound way, because she was interested in sensuality, too. I think that’s very current, but she was criticized in other periods of feminism; for showing her own body, for exuding a kind of sensuality/sexuality. Barbara also showed her own body, but in a different way: it was more about strength, strength in the bareness and nudity. Gunvor Nelson made this film called Schmeerguntz. It is so wild, and it’s about motherhood, having babies, all the mess, the shit, the body, letting it all hang out. That’s kind of her take on it. They really run – to me – the gamut. I mentioned Chantal Akerman and loving her work, and her study of women’s bodies. But it’s not just about bodies, of course.
Have you heard about the Bechdel Test? Yes.
I think it’s pretty interesting for mainstream filmmaking. It’s a handy rubric for deciding what the presence of – let’s talk about narrative film – what the presence of a protagonist does or whether a character is able to speak. I think those are interesting things. They’re not the kind of films I’m making, but I do watch them, and I think that plenty of women who make it very high up in the industry, instead of trying to change that structure, actually think that the best way to get into the business is to replicate what already exists, and that’s a shame.
We had two movies at Berlinale this year that were pretty mainstream and feminist – The Assistant –
Oh I saw that! I really liked it. It’s controversial.
At her press conference, the director said that it was hard for her to get funding because she was criticizing the industry. Sometimes these norms are really hard to break. The other one was Never Rarely Sometimes Always.
I wanted to see that. It came out, and then [lockdown happened]. Now it’s online. The other movie that came out in the mainstream, like The Assistant, on the same topic – workplace dynamics – was a film called Bombshell. Did you see that?
No, but I heard about it.
Well…I did not like that movie at all. One of the reasons was, they were talking about the abusive power in the workplace, by men who had financial or other kinds of control in the workplace. But the people who were playing the women actually were bombshells. Do you know this expression? It’s old fashioned. A bombshell is an incredibly beautiful woman.
The movie’s called Bombshell because it’s about these women who are television anchors on broadcast news, who have to be bombshells to get those jobs, but then the story is that they also have to sleep with the boss. But the film, in its texture and representation, never breaks the mould. The women who play the parts are always presenting themselves with the best bodies and make-up, etc. Whereas in The Assistant, everything becomes much more austere and cerebral, and you think about the protagonist – who she is at her desk. I thought it was much more effective.
Another filmmaker who has had a very big influence on me is the Argentine director Lucretia Martel. I study her films, to help me figure out things, around editing. I’ve really been affected by her work.
Did you have a plan for your career? How did you find your direction?
The lucky part was that I found this way of working, and relationship to the media, that I loved. I think that’s been a setback for plenty of good friends of mine: they didn’t necessarily find something they were passionate about doing. I just continue to be excited about it. I had to find ways to make that work for me. The most practical thing I did when I moved to San Francisco, was that I enrolled in a program at a public university that also had a whole cinema studies component. I had a lot to catch up on, in terms of developing a foundation for the understanding of cinema. But the degree was a Master’s degree, and then there was an art school there at the time – The San Francisco Art Institute.
They offered a Master’s of Fine Arts – which in the States is considered a terminal degree, not just the first step. I ended up doing both programs because I was thinking ‘I might want to teach’ and I have been teaching pretty consistently for all these years, but I never aspired to a tenure track job. I’ve taught at probably 15 different art schools or universities, but I wasn’t trying to raise myself up in academia. So that was the most practical thing I did. The other part was that depending on where you teach, it could be hard to have time to do your work, e.g. if they have 7 classes a year. It depends on what is expected. I have had good relationships with places where I was teaching where they gave me funding for a project. Here, we have all different kinds of grants: we have grants from the government (which are not that big), or grants from private foundations, like the Guggenheim foundation.
How did you develop your aesthetic? Did you look back at your earlier works and think ‘oh I could have done this better’ or are you happy with each step?
No, not necessarily happy. Oh my God, sometimes I look at the credits and think ‘oh why did I do that? Why did I have so many names?’ I’m actually in the midst of doing some preservation work on some of my older films. I’m doing part of it with the Museum of Modern Art, they’re working on my film Which Way Is East. It’s been interesting because I’ve had to look at it very carefully, and they are very fastidious. They said, ‘when we make a new 4K scan, you can’t push us to try to make it look like you made this in 2020, because you made it in 1994’. You think about the film stocks and things like that.
NYU has a preservation program, and they are studying the preservation of one of my very first short films, it’s called Still Life with Woman and Four Objects. We’re working on that. They just transferred it to 4K.
That movie actually made me think of Chantal Akerman a lot.
Thank you for saying that. I was also very affected by Yvonne Rainer. I had seen Akerman for sure by that time, because I’d seen her in France, but I don’t know if I’d seen Yvonne Rainer’s [work].
My newest film is called Film About a Father Who. There’s a famous film that Yvonne Rainer made, called Film About a Woman Who… – from the ’70s. I have definitely been very influenced by Yvonne Rainer, but then I would say her films are more austere than mine are.
But you asked about aesthetics. I can’t impose any one aesthetic that I might’ve discovered on the next project, because the idea is the boss. The idea drives the aesthetic, mostly. Sometimes I just shoot, and it’s like I re-find my own material. Did you see this short film I made called Starfish Aorta Colossus?
The whole film is shot with a regular 8mm camera that you wind-up. It’s collaboration between myself and poet Paolo Javier. That material I had shot over decades, and then he asked me if I would make a poem in honor of his book being published. I thought it was a good excuse to go back and look at all this old footage. It wasn’t like I created the footage for his poem, but I put it together in response to his poem.
What was it like to have Bruce Conner as your mentor?
I had kind of like a short-term boyfriend, and he introduced me to Bruce. I was just getting involved in filmmaking, so I had negative skills. But we got along well. Some people thought he was a bit of a curmudgeon, but he wasn’t to me at all. I would just go to his house – I was supposed to be helping him splice his films, but he would look at my splicing ability and think it was so terrible that he ended up doing it himself.
I went once a week and he would tell me stories the whole time. We would just talk and talk. He had a long-term kidney problem. He actually lived for twenty more years, but he would always have to take a rest so I would hang out with his wife. Over the years, when both my children were born, he gave them lovely drawings and we stayed in contact. His found-footage work is profound. The ideas that happen between every shot in A Movie are so fantastic. Nothing is about ‘the archive being precious’ – [instead] the archive is about a way of finding irreverence, or irony, or poetry or politics. He was interested in the clash, rather than the archive being an illustration of a moment in history.
Does your approach change — and if so, how — when working with digital versus celluloid?
It takes a lot more for me to be excited about images that are shot on digital.
[She shows me a work in progress, from which the following still was taken.]
I like the unpredictability of film – the fact that as she circles around, you go into these dark areas. It can happen in video too, but I like the way it works on film, especially in black and white: the background that’s black becomes one kind of canvas, versus another kind of canvas. I also like that it’s not perfectly sharp, because I think that in television there’s too much attention on the face. The less you show, the more interesting the face is. The precision of digital and its ability to replicate reality makes it less compelling to me. Sometimes I shoot digital work I really do like. But in digital, people tend to overshoot: hours and hours. With film, I only shot three minutes of my daughter [running in cirlces], so I have to work with that.
It’s interesting how the film shapes what you make. I watched the XY ChromosomeProject. [Made in collaboration with her husband Mark Street.]
That’s also the name of our – we sort of have a film company. It doesn’t really mean a company, but… you know. I’m glad you watched that.
How was it to collaborate? Did you plan it together and then shoot separately? Or did you shoot separately and then come together?
We made that during a period when our daughters, who are 23 and 25, were younger. We initially made it for this performance space here in New York that was also a restaurant, called Monkeytown. They’ve moved all over the world. There’s one person who runs it and sometimes I hear he’s in Australia, sometimes in Berlin. He had this restaurant (with delicious food), where everybody sat on the floor. They had projectors, so you could project on all four walls of the room. We thought it was Cartesian, so we had an X and a Y. But we also thought about XY as in Chromosomes, so that’s where we got the name.
We’ve made quite a few films together. More than films, we created projection evenings, and things like that. We did something at the Microscope Gallery, for example, here in Brooklyn. Anyway, in this particular case, Mark and I had each shot some of our own material, and we said we had to edit the film together: he would edit a shot, and I would come in on the same computer and edit the next one, like a Surrealist Exquisite Corpse. We constructed it that way, so it was not pre-planned.
How does language that you use mediate or affect your creative process? Language is so interesting in your movies. It’s very rare to find somebody who is so visual and lingual at the same time. Somehow people tend to choose one or the other.
That’s really true. And I think that’s one of the reasons I don’t necessarily identify with certain kinds of ‘purist’ wordless experimental films – but then I also really don’t identify with traditional documentaries that aren’t as playful with the image.
The thing is, that poetry is very close to experimental films. If you think about it, poetry breaks all the rules of grammar, a line break is like a cut between the shots. It makes sense that you don’t have to say ‘cine-poem’, but that poetry is in conversation with not just a love of a language, but a heightened love of language that would work with a heightened love of the film frame. Instead of it being one or the other. But for many people it is one or the other. I’m just excited about both.
It’s really nice. Maybe it’s because I’ve been watching mostly male experimental cinema for the longest time. I suddenly switched and thought maybe it’s just because women are more verbal.
That definitely could be. It’s interesting because Barbara Hammer and Carolee Scheemann both did a lot of writing. I would say in Carolee’s films, the words weren’t that important, but she wrote many books, and she was very engaged with text.
A Year in Notes and Numbers (2017) is a 4 minute silent digital video work by the American experimental filmmaker Lynne Sachs, which consists of close-up shots of a few words from to-do lists and notes to self, mostly written on yellow ruled paper, with names, errands and artistic intentions written in various coloured inks, circled, crossed out, stained, creased, blotted: “Write Mom / to thank!”; “Vitamin D”; “FROGS”; “Make 2 shelves / Build 2 shelves”; “lightbulbs”. These lists are occasionally overlaid with medical terms and measurements: “Sodium / 138”; “Globulin / 2.6”; “eGFR / 86”. At one point a section from the production notes of what is probably one of Sachs’ other films is shown: “She observes herself / and others // learning”. The next shot: “Camera as extension of her body.” The next shot: “Fun of research.” We see the minutiae of a year in a life, the endless small tasks that demand to be completed, correspondence that needs to be written, plans and ideas for projects that might or might not be realised; we also see the medical quantification of the body which performs these tasks. There are personal reminders: “Write Barbara H” (Barbara Hammer, presumably); there are political reminders: “Get out the vote”. It ends with the word “Mom”, then the figure “125 LBS”, then a few seconds of swirling reds, yellows and greys.
A Year in Notes and Numbers relates to a strand in Sachs’ earlier work, which goes right back to one of her earliest films, Still Life with Woman and Four Objects (1986). These pieces are distinct from, but related to, the experimental documentaries about political history which Sachs has also made, and focus more closely on everyday life and its reproduction. In Still Life with Woman and Four Objects—a tribute to the anarchist and feminist Emma Goldman—a woman puts on a coat, peels and pits an avocado, suspends the stone above a glass of water to sprout it, eats a meal, and reads aloud a letter of Goldman’s. Food preparation, small acts of gardening, eating and anarcha-feminism all sit on the same level. This strand of Sachs’s work is perhaps best represented in a piece like Window Work (2000), a 9 minute sound video comprising of a single uninterrupted shot of a kitchen window in Baltimore, in which a women washes the windowpane, makes and drinks some tea, reads the newspaper. Two small frames within the larger image show miniature home-movies, which gesture towards personal memory and earlier media technologies: Super 8 film as the precursor to videotape. Window Work could be read as a kind of Jeanne Dielman (Chantal Akerman, 1975) in miniature; though where Chantal Akerman shows the drudgery and tedium of housework with an unflinching clarity, in Sachs’ film the accoutrements of domesticity are shown in shadow and used to evoke a dream-like atmosphere which encourages fantasy and reverie on the viewer’s part. Jeanne Dielman tries to make housework visible, or at least questions to what extent labour can be made visible through cinema, and in doing so, demands work from the viewer, who must pay attention, sitting through its lengthy run-time and long, slow takes. Sachs’ Window Work, on the other hand, is more playful with the concept of work—does the “work” in the title refer to the work of cleaning the window, in a fairly desultory fashion, or to the artwork we are watching? Is the work of this film a dreamwork?
In contrast to these earlier explorations of the everyday and domestic in Sachs’ oeuvre, A Year in Notes and Numbers is mundane on a different level. By showing names, tasks, numbers and stray thoughts completely devoid of any context, with no date or other clue as to what they mean, a year is condensed to a flurry of seemingly meaningless activity, combined with the equally decontextualised and slightly ominous medical statistics that appear intermittently on screen. Calcium: 9.6. Is this good or bad? Sinister or reassuring? What about Bilirubin 0.7? (According to Google, both of these figures are within the average range.) By reducing the representation of a body to written memoranda and biological measurements, this recent work by Sachs is somehow both more personal and more alienating than her earlier work dealing with similar topics. The body is reduced to a quantum of figures, abstracted into data, but not at the expensive of the person who that body is, who has family and friends to write to, lightbulbs to buy, DVDs to watch, interviews to listen to, films to make.
Unending Lightning (2015–ongoing) is a six-plus hour three-channel video installation by the Spanish artist Cristina Lucas which documents every aerial bombing over civilians since the development of manned flight. It visualises a database gathered by a large number of researchers and organisations, building on research begun in 2011, on the 75th anniversary of Guernica, arguably—thanks to Picasso—the most famous aerial bombing of civilians. Manned flight was made possible in 1903. By 1909, two people could fly in one aircraft. Aerial bombing began only two years later, in the 1911 Italo-Turkish war, a war over colonial control of Libya. Unending Lightning is an ongoing work, because it will only be complete when aerial bombing over civilians, including drone strikes, is a military strategy that has been abandoned. The central screen shows a map of the world with the locations of the bombings and the number of civilian casualties marked; the left screen shows the respective military forces responsible for dropping the bomb, the type of bomb dropped, the city bombed and the known number of casualties; the right screen shows archive and documentary videos and photography from the aftermath of the bombings. I saw it at Manifesta 12 in Palermo, where it was shown in the Casa del Mutilato, a hospital for wounded soldiers designed by the Rationalist (i.e. Fascist) architect Guiseppe Spatrisano in 1936: a large temple to fascism erected in honour of the Italian annexation of Ethiopia in the same year—a conflict which saw Italy using poison gas bombs on Red Cross hospitals. As Sven Lindqvist argued in A History of Bombing, in its first years aerial bombing was seen as a convenient and exciting answer to the question of how exactly European powers could exterminate entire populations without having to get their hands quite so dirty. The origin of this technology lies in colonial violence.
Unending Lightning is a magisterial work, one requiring a collaborative team of researchers and software engineers, the accumulation and maintenance of large amounts of historical data; it is open-ended and so almost unwatchable as a single piece, with a runtime which grows with each new drone strike in Afghanistan (almost 40 per day in September 2019 alone, according to The Bureau of Investigative Journalism). The visual aesthetics of Unending Lightning resemble nothing more than a PowerPoint presentation: bullet-pointed information presented in Helvetica on grey-blue backgrounds, grainy historical photographs gradually improving in quality as the work moves closer to recent bombings and the video and photography technologies which captured the aftermaths develop. While watching it, the viewer sees the unceasing global conflicts which have unfolded over the last century and more. Near the beginning of the film there are a few moments where days go by in which no aerial bombings take place, but soon it is every day, all over the globe, often accompanied by the phrase “unknown numbers of civilians killed”. Even with the enormous amount of research undertaken for the work, we will never be able to truly know through quantification the amount of death unleashed on the world by the advent of bombing from the air.
What does Unending Lightning have to do with Lynne Sachs? At first glance perhaps very little. But they operate at different ends of the same recent aesthetic tendency, exploring quantification and its limitations. In Lucas’ work, we watch something unfold which feels like an unending depiction of death and destruction, mostly of women and children; what necessarily gets left out of the work, and as such is brought concertedly to mind when we view the piece, are the actual everyday lives of the people who were killed by these bombs dropped from the air. In Sachs’ recent work, on the other hand, the abstraction of a life from a record of its daily activities asks the viewer to fill in the gaps, to imagine or project something into the space that is left open between the unfinished errands and the medical figures we are presented with. In very different ways both artists are concerned with the everyday, the way that developments in technology can start to feel familiar, natural, normal, until all of a sudden they don’t, and they erupt into the sphere of domesticity, whether that’s through the collection and retention of biological data by private healthcare companies, or the firing of a missile from a remote-controlled drone.
Likely the most accomplished experimental filmmaker to come from Tennessee, Memphis-native Lynne Sachs’ 30-year career has produced some of the most mesmerizing, contemplative observations on culture and communication ever committed to celluloid (and sometimes digital video.) Her work effortlessly infuses personal experiences into broader political/historical contexts, deploying a cinematic style that is uniquely her own while still evoking her collaborations and relationships with a veritable who’s who of avant garde cinema, including Bruce Conner, Chris Marker, Gunvor Nelson, Trinh T. Minh-ha, and George Kuchar. Currently based in New York, September 17th marks Sachs’ return to Tennessee for a sweeping retrospective of her films at the 28th installment of The Light & Sound Machine, sponsored by The Belcourt Theatre and Third Man Records.
STILL LIFE WITH WOMAN AND FOUR OBJECTS (4 min. B&W 16mm film, 1986)
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.
FOLLOWING THE OBJECT TO ITS LOGICAL BEGINNING (9 min. color 16mm. 1987)
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”. Presented at the Whitney Museum of American Art’s “American Century”, 2000.
DRAWN AND QUARTERED (4 min. color 16mm film, silent, 1986)
Optically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections. An experiment in form/content relationships that are peculiar to the medium.
INVESTIGATION OF A FLAME (16mm, 45 min. film. 2001)
An intimate, experimental portrait of the Catonsville Nine, a disparate band of Vietnam War peace activists who chose to break the law in a defiant, poetic act of civil disobedience. Produced with Daniel and Philip Berrigan and other members of the Catonsville 9.
PHOTOGRAPH OF WIND (4 min. 16mm film, silent,2001)
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. “Sachs suspends in time a single moment of her daughter.” Fred Camper, Chicago Reader. San Francisco Film Festival
NOA, NOA (8 min. b & w 16mm to digital transfer, 2006)
Over the course of three years, Sachs collaborated with her daughter Noa (from 5 to 8 years old), criss-crossing the wooded landscapes of Brooklyn with camera and costumes in hand. Noa’s grand finale is her own rendition of the bluegrass classic “Crawdad Song”.
EVERY FOLD MATTERS (10 min. excerpt from live performance and film, co-written and directed by Lizzie Olesker, 2015)
A live performance which explores the personal and social experience of doing laundry. Four performers weave together improvisation, written text, and dance in the inspiring environs of a public laundromat.
STARFISH AORTA COLOSSUS (4 min., 8mm to digital transfer, 2015)
NYC poet Paolo Javier invited Lynne to create a film that would speak to one of his poems from his newly published book Court of the Dragon (Nightboat Books). Sachs chose Stanza 10 from Javier’s poem “Starfish Aorta Colossus”. This film travels through 25 years of Lynne’s Regular 8 mm film archive — including footage of the A.I.D.S. Quilt from the late 1980s, an arduous drive from Tampa to San Francisco, and a journey into a very untouristic part of Puerto Rico. Throughout the process, Sachs explores the syntactical ruptures, the celebration of nouns and the haunting resonances of Javier’s poem. Created in collaboration with Sean Hanley.
See Review of this show here in the Nashville Scene:
I feel a closeness with writers, poets and painters, much more than with traditional film “directors.” We share a love of collage. In the kinds of films I make, there are fissures in terms of how something leads to something else. Relationships and associations aren’t fixed. I always learn from an audience, about whether or not the convergence of two images is actually expressing an idea. I hope it’s doing one thing, but I might learn that it is doing something completely different. In this way the films are kind of porous; they are open to interpretation. One thing I realized recently is that I have this rhythm when I make films—ABABAB or yesnoyesnoyesno. For example, I call The House of Science a “yes film” because any idea that came into my head, pretty much made its way into the movie. The yes films are full of associations—some of them are resolved and some of them are adolescent; they’re still trying to figure out who they are. Other films are “no films.” Window Workis a single eight-minute image of me sitting in front of a window. It’s very spare and kind of performative. I felt like it had to be done in one shot. “No, you can’t bring in any clutter.” Sometimes I try to make films that don’t have clutter; other times I make films that are full of it.
Watch ‘Lynne Sachs’ Yes and No Films’ by Kevin B. Lee
Here is a list of my films in the Fandor collection. Critic Kevin B. Lee gave me the assignment to designate films that fall under the YES or NO category. Please keep in mind that these rather black-and-white distinctions do not imply a positive or negative disposition within the film. Instead, they indicate an integrated philosophical approach to the artistic rigor I brought to the creative process. I didn’t actually figure out that I was following this approach until about 2010, so I am actually imposing this nomenclature on my filmography retroactively.
Selected Films and Videos by Lynne Sachs
Still Life with Woman and Four Objects (4 min. B&W 16mm, 1986)
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. (This is a YES film that was inspired by my viewing of Jean-Luc Godard’s Vivre sa vie and Yvonne Rainer’s Lives of Performers. For the first time, absolutely any idea that came to my mind had to squeeze its way into my four-minute film. Sometimes big ideas were distilled into a gesture or a cut. So was born an experimental filmmaker. . . .)
Drawn and Quartered (4 min. color 16mm, 1986)
Optically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections. An experiment in form/content relationships that are peculiar to the medium. (This is a NO film. I shot a film on a roof with my boyfriend. Every frame was choreographed. Both of us took off our clothing and let the Bolex whirl and that was it. Pure and simple.)
Following the Object to Its Logical Beginning (9 min. color 16mm. 1987)
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.” (Another YES film intended as a pair with Still Life with Woman and Four Objects. I tried to put way too many ideas into this film and it ultimately didn’t work very well. It was a risk, and that in and of itself I am happy about.)
Sermons and Sacred Pictures: the Life and Work of Reverend L.O. Taylor (29 minutes, 16mm, 1989)
An experimental documentary on Reverend L.O. Taylor, a Black Baptist minister from Memphis who was also an inspired filmmaker with an overwhelming interest in preserving the social and cultural fabric of his own community in the 1930s and 1940s. (A teacher of mine in graduate school said to me “Why don’t you put yourself into the movie? Make yourself visible on the screen.” I felt that my fingerprint on the film and the three-year production expressed my personal presence far better than my actually being in the film. I said NO.)
The House of Science: a Museum of False Facts (30 min., 16mm 1991)
“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.” — SF Cinematheque (This film was the beginning of unbridled YES-ness.)
Which Way Is East: Notebooks from Vietnam(33 min., 16mm, 1994)
“A frog that sits at the bottom of a well thinks that the whole sky is only as big as the lid of a pot.” 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. “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.” —Independent Film & Video Monthly (I shot this film during a one-month visit to Vietnam. I traveled around the country with my sister and shot only forty minutes of film, as much as I was able to carry in a backpack. The post-production required absolute precision, focus and a willingness to work with the bare minimum. I learned about editing in this film because it was so self-contained. I could not return to Vietnam to shoot more and this in and of itself taught me to see. A definite NO.)
A Biography of Lilith(35 min., 16mm, 1997)
In a lively mix of off-beat narrative, collage and memoir, this film updates the creation myth by telling the story of the first woman and for some, the first feminist. Lilith’s betrayal by Adam in Eden and subsequent vow of revenge is recast as a modern tale with present-day Lilith musing on a life that has included giving up a baby for adoption and work as a bar dancer. Interweaving mystical texts from Jewish folklore with interviews, music and poetry, Sachs reclaims this cabalistic parable to frame her own role as a mother. (This film started with my first pregnancy in 1995 and ended with the birth of my second child in 1997. So many ideas came to my mind during this early period of being a mother, from superstitions, to feminism, to archeology, to my performing nude in front of the camera. I would even say this film is my first musical. It’s a YES.)
Investigation of a Flame (16mm, 45 min. 2001)
An intimate, experimental portrait of the Catonsville Nine, a disparate band of Vietnam War peace activists who chose to break the law in a defiant, poetic act of civil disobedience. Produced with Daniel and Philip Berrigan and other members of the Catonsville 9. (I lived and breathed this movie for three years but from the beginning I knew what it was about and I didn’t really deviate from that except on a metaphoric level and that doesn’t count. It’s a NO.)
Photograph of Wind(4 min., B&W and color, 16mm, 2001)
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. “Sachs suspends in time a single moment of her daughter.” —Fred Camper (I kept this one very spare and I like that NO-ness about it.)
Tornado(4 min., color video 2002)
A tornado is a spinning cyclone of nature. It stampedes like an angry bull through a tranquil pasture of blue violets and upright blades of grass. A tornado kills with abandon but has no will. Lynne Sachs’ Tornado is a poetic piece shot from the perspective of Brooklyn, where much of the paper and soot from the burning towers fell on September 11. Sachs’ fingers obsessively handle these singed fragments of resumes, architectural drawings and calendars, normally banal office material that takes on a new, haunting meaning. (This film is a distillation of what I was thinking right after September, 11, 2001. It had to be a NO film. If I had added anything else, it would not express the anguish of that moment in New York City.)
States of UnBelonging(63 min. video 2006)
For two and a half years, filmmaker Lynne Sachs worked to write and visualize this moving cine-essay on the violence of the Middle East by exchanging personal letters and images with an Israeli friend. The core of her experimental meditation on war, land, the Bible, and filmmaking is a portrait of Revital Ohayon, an Israeli filmmaker and mother killed in a terrorist act on a kibbutz near the West Bank. Without taking sides or casting blame, the film embraces Revital’s story with surprising emotion, entering her life and legacy through home movies, acquired film footage, news reports, interviews and letters. (A NO movie that wanted to wander in every direction but the one where it eventually led.)
Noa, Noa (8 min., 16mm on DVD, B&W and Color, sound 2006)
Over the course of three years, Sachs collaborated with her daughter Noa (from 5 to 8 years old), criss-crossing the wooded landscapes of Brooklyn with camera and costumes in hand. Noa’s grand finale is her own rendition of the bluegrass classic “Crawdad Song.” (I followed my daughter wherever she took me, so that limitation makes it a NO film.)
Atalanta 32 Years Later (5 min. color sound, 2006, 16mm on 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.
(This film had very strict parameters that were given to me by curator Thomas Beard so I suppose it is a NO.)
The Small Ones (3 min. color sound, 2006 DVD)
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.
(A YES film that allowed me to include an avocado and a spider in a film about war.)
Georgic for a Forgotten Planet(11 min., video, 2008)
I began reading Virgil’s Georgics, a First-Century epic agricultural poem, and knew immediately that I needed to create a visual equivalent about my own relationship to the place where I live, New York City. Culled from material I collected at Coney Island, the Lower East Side, Socrates Sculpture Garden in Queens, a Brooklyn community garden and a place on Staten Island that is so dark you can see the three moons of Jupiter. An homage to a place many people affectionately and mysteriously call the big apple. (Not sure if my catagories work for this film so I won’t commit.)
Cuadro por cuadro/ Frame by Frame( 8 min., by Lynne Sachs and Mark Street, 2009)
In Cuadro por caudro, Lynne Sachs and Mark Street put on a workshop (taller in Spanish) with a group of Uruguan media artists to create handpainted experimental films in the spirit of Stan Brakhage. Sachs and Street collaborate with their students at the Fundacion de Arte Contemporaneo by painting on 16 and 35 mm film, then bleaching it and then hanging it to dry on the roof of the artists’ collective in Montevideo in July, 2009. (I made this film with my husband Mark Street. It is one of our XY Chromosome Project collaborations so my usual rhythms don’t really apply.)
The Last Happy Day (37 min., 16mm and video, 2009)
The Last Happy Day is a half hour experimental documentary portrait of Sandor Lenard, a distant cousin of filmmaker Lynne Sachs and a Hungarian medical doctor. Lenard was a writer with a Jewish background who fled the Nazis. During the war, the US Army Graves Registration Service hired Lenard to reconstruct the bones — small and large — of dead American soldiers. Eventually Sandor found himself in remotest Brazil where he embarked on the translation of Winnie the Pooh into Latin, an eccentric task which catapulted him to brief world wide fame. Perhaps it is our culture’s emphasis on genealogy that pushes Sachs to pursue a narrative nurtured by the “ties of blood”, a portrait of a cousin. Ever since she discovered as a teenager that this branch of her family had stayed in Europe throughout WWII, she has been unable to stop wondering about Sandor’s life as an artist and an exile. Sachs’ essay film, which resonates as an anti-war meditation, is composed of excerpts of her cousin’s letters to the family, abstracted war imagery, home movies of children at a birthday party, and interviews. (I had wanted to create this film for about 20 years but could never figure out how to make it work. Only when it transformed from a NO film to an anything-goes YES film did it find its voice.)
Wind in Our Hair/ Con viento en el pelo (40 min. 16mm and Super 8 on video, 2010)
Inspired by the stories of Argentine writer Julio Cortázar, yet blended with the realities of contemporary Argentina, “Wind in Our Hair” is an experimental narrative about four girls discovering themselves through a fascination with the trains that pass by their house. A story of early-teen anticipation and disappointment, Wind in Our Hair is circumscribed by a period of profound Argentine political and social unrest. Shot with 16mm, Super 8mm, Regular 8mm film and video, the film follows the girls to the train tracks, into kitchens, on sidewalks, in costume stores, and into backyards in the heart of Buenos Aires as well as the outskirts of town. Sachs and her Argentine collaborators move about Buenos Aires with their cameras, witnessing the four playful girls as they wander a city embroiled in a debate about the role of agribusiness, food resources and taxes. Using an intricately constructed Spanish-English “bilingual” soundtrack, Sachs articulates this atmosphere of urban turmoil spinning about the young girls’ lives. (Again this film moved from being a NO narrative film based on a short story by an Argentine author to being a YES film that included lots of documentary material. This shift is an indication of a move toward hybrid filmmaking.)
The Task of the Translator(10 min., video 2010)
Lynne Sachs pays homage to Walter Benjamin’s essay “The Task of the Translator” through three studies of the human body. First, she listens to the musings of a wartime doctor grappling with the task of a kind-of cosmetic surgery for corpses. Second, she witnesses a group of Classics scholars confronted with the haunting yet whimsical task of translating a newspaper article on Iraqi burial rituals into Latin. And finally, she turns to a radio news report on human remains. (Not sure what to call this one.)
Sound of a Shadow (10 min. Super 8mm film on video, made with Mark Street, 2011)
A wabi sabi summer in Japan–observing that which is imperfect, impermanent and incomplete– produces a series of visual haiku in search of teeming street life, bodies in emotion, and leaf prints in the mud. (Another blissful NO film that recognized the integrity of keeping it simple)
Same Stream Twice (4 min. 16mm b & w and color on DVD, 2012)
My daughter’s name is Maya. I’ve been told that the word maya means illusion in Hindu philosophy. 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. Eleven years later, I pull out my 16mm Bolex camera once again and she allows me to film her—different but somehow the same. (There is an organic logic to this so I will designate it a NO.)
Your Day is My Night (HD video and live performance, 64 min., 2013)
Immigrant residents of a “shift-bed” apartment in the heart of New York City’s Chinatown share their stories of personal and political upheaval. As the bed transforms into a stage, the film reveals the collective history of the Chinese in the United States through conversations, autobiographical monologues, and theatrical movement pieces. Shot in the kitchens, bedrooms, wedding halls, cafés, and mahjong parlors of Chinatown, this provocative hybrid documentary addresses issues of privacy, intimacy, and urban life. (Because I brought in the performance and fiction elements to this documentary I must call it a YES film.)
Drift and Bough(Super 8mm on Digital, B&W, 6 min., 2014)
Sachs spends a morning this winter 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. The stark black lines of the trees against the whiteness create the sensation of a painter’s chiaroscuro. Woven into this cinematic landscape, we hear sound artist Stephen Vitiello’s delicate yet soaring musical track which seems to wind its way across the frozen ground, up the tree trunks to the sky. (One very cold day in the park and some music. If there were more, it would melt. It’s a NO.)
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“Still Life With Woman and Four Objects” 4 min. B&W 16mm.1986
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 .