Tag Archives: Which Way is East: Notebooks from Vietnam

Watch Sheffield Doc/Fest : Lynne Sachs Live Q&A with Festival Director Cíntia Gil

DATE: Thursday, 2 July
TIME: 7pm (BST)

Sheffield Doc/Fest Director, Cíntia Gil is joined by director, Lynne Sachs to discuss her films and to take questions from the audience for a live Q&A.

Filmmaker Lynne Sachs, in conversation with Festival Director Cíntia Gil, discuss 5 films that form her Director’s Focus within the Ghosts & Apparitions strand and her upcoming international premiere of Film About A Father Who which screens as part of Doc/Fest in October. Lynne Sachs’ films explore the notion of translation as a poetic and political tool for widening the world. Together with the focus, Doc/Fest presents Sachs’ video lecture My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World, a fascinating journey through her themes and work.

Her films are currently available to watch on Sheffield Doc/Fest Selects and Doc/Player through August 31, 2020:

The Last Happy Day, 2009, 37’
Which Way Is East: Notebooks from Vietnam in collaboration with Dana Sachs, 1994, 33’
Your Day Is My Night, 2013, 64’
The Washing Society, co-directed by Lizzie Olesker, 2018, 44’
A Month of Single Frames, made with and for Barbara Hammer, 2019, 14’

How Lynne Sachs Turns Spoken Word Into Cinematic Language

A long-overdue retrospective of the feminist artist and filmmaker demonstrates how she explores communication in her work.

By Serena Scateni
July 13, 2020

Lynne Sachs has always eluded easy labeling. Since her first short films in the late ’80s — the black-and-white character study Still Life With a Woman and Four Objects and the Laura-Mulvey-inspired observation on gendered bodies that is Drawn and Quartered — she’s eschewed traditional film grammar. She’s focused instead on capturing gestures, inches of skin, fragments of conversations, casual moments in time, personal memorabilia, and weaving them into unexpected patterns. This year, Sheffield Doc/Fest has celebrated Sachs with a long-overdue retrospective.

A recurring theme in Sachs’s filmography is the elliptical tension of translating spoken language into visual language. From her video travelogue of two clashing cultures in Which Way Is East: Notebooks from Vietnam (1994) to the visual haiku of Sound of a Shadow (2010), she grounds her work in using aesthetics to decipher how people communicate. For Sachs, translation is frequently as much a vessel for encountering others as it is a tool to mold her films’ forms. 

Two titles in the retrospective use this approach to give voice to the marginalized. The Washing Society (2018) documents both the contemporary and historical invisible labor in New York City laundromats, mostly performed by Black and brown women. Their repetitive gestures are performed in tempo to the words of the Atlanta black laundresses’ manifesto of 1881, and their unappreciated work is eventually exalted by artistic performances in the laundromats. Similarly, Your Day is My Night (2014) steps into the overcrowded apartments of immigrants in New York’s Chinatown. Their beds and common rooms are turned into stages on which they recount their pasts and talk about their current experiences. Sachs sublimes the personal into the theatrical.

Translation is more directly approached in Which Way Is East. Visiting her sister Dana in Vietnam, Sachs acts as both an outsider enchanted by the unfamiliar (while trying to avoid succumbing to Orientalist tropes) and a displaced explorer. She does not perceive her inability to speak Vietnamese as a barrier, even though communication would be arduous without Dana acting as an interpreter. Meanwhile, the peculiar The Last Happy Day (2009) explores the intricacies of the Sachs family genealogy. Sachs and her daughters peruse the letters of a distant cousin, Alexander Lenard, trying to piece his life together. The result is a fragmented series of floating imagery which gradually coheres into a portrait of an interesting man, a doctor who fought World War II and later translated Winnie the Pooh into Latin. 

Sachs’s mentor and friend Barbara Hammer inhabits A Month of Single Frames (2019), her moving tribute to the late filmmaker’s work and inspiration. Some of Hammer’s personal materials were given to Sachs with absolute freedom regarding what form they would take in her hands. With fondness, she merges 16mm film shot by Hammer during an artist residency at Cape Cod in 1998 with a 2018 recording of Hammer reading excerpts from her journal. On-screen text sporadically appears to further dialogue with the source material, and perhaps Hammer herself as well. It is cinema as a conversation between generations, and between the living and the dead. Translation is not merely a utilitarian mediation for mutual understanding, but also a political act. Sachs embraces variegated renditions of filmic language, recording the world, digesting it, and offering it to viewers in its performative beauty.

Lynne Sachs’s work is available on a variety of platforms.

Screen Queens: Sheff Doc/Fest 2020— The Lynne Sachs Focus

By Fatima Sheriff
July 11, 2020
Screen Queens

Premiering Lynne Sachs’ latest feature, A Film About A Father Who, Doc/Fest 2020 has taken the opportunity to curate a few of the director’s most intriguing films. Spanning over decades of empathetic, experimental filmmaking, Festival Director Cintia Gil mentions that the overarching theme of these works is “translation”. Sachs elaborates that while her films often feature other countries and languages, the experience isn’t meant to feel seamless, but instead explore the sense of dépaysement, of being out of your own comfort zone, and revelling in that unfamiliarity and curiosity. 

Which Way is East (1994)
In which Lynne joins her sister Dana in Vietnam, and documents their travels north. Primarily she is connecting with the country: eating copious amounts of fruit, bonding with friends and strangers alike, examining the damage left behind from the war. There are layers beyond the direct translation of Vietnamese as peppered throughout are proverbs, which connect with the discussions and reveal how cultures perceive life differently. On another level she’s reconnecting and collaborating with a sister who she’s been separated from, and building a bridge between her own fictional, creative inclinations as a filmmaker and her sister’s political, non-fiction perceptions as a journalist. At 33 minutes, it feels like a whirlwind, footage zooming past on the roads, but one that really feels shared by all who feature in it. 

The Last Happy Day (2009)
This title is a quote from letters received by Sachs’ uncle referring to the day before the outbreak of WWI, marking a shattering of naïvité and the start of a century of disillusionment. In an incredibly liminal and fascinating piece of exploration, Sachs’ children tell the story of Sandor Lenard, a distant Hungarian cousin who fled a small town in Germany in 1938. 

Surrounded by death as he worked for the US to identify the broken bones of soldiers, his later project is intriguingly different: the translation of Winnie the Pooh into Latin. A so-called dead language, that he said best expressed dread, was applied to the philosophical exploits of children’s characters. Having watched many young men become soldiers, seeing Sachs’ kids interpret his letters and his translation brings out a deeper meaning within them. It’s a patchy portrait of a mysterious man that brings about a sense of existential crisis and a permanent exile from security. 

Your Day Is My Night (2013) 
My personal favourite, a window into the world of Chinese immigrants in New York City, who rent “shift-beds” in order to afford to live and work there. It’s a carefully orchestrated blend of performance art to highlight the nocturnal, upside-down lifestyle and monologues perfected to best tell the stories of each inhabitant. One stand out is Huang, a wedding singer who lives with his father, who shares his unique passions and fears. It is a tactile, emotional approach with many dimensions that helps the viewer begin to comprehend these experiences, and brings this hidden side of the city to light. 

The Washing Society (2018)
Co-directed with playwright Lizzie Olesker, this team effort is the culmination of a performance piece named ‘Every Fold Matters’, detailing and valuing the efforts of laundry workers. This film is named after the original Atlanta Washing Society of 1881, where thousands of African American laundresses unionised and demanded better pay and agency over clients. This revolutionary spirit is carried on, as the film juxtaposes three actresses with three workers, folding and carrying thousands of garments a day, unappreciated and undervalued. Through the combination of conversation and performances, the intimacy and volume of their work is brought to light. 

A Month In Single Frames (For Barbara Hammer) (2018) 
As filmmaker Barbara Hammer was undergoing chemotherapy, she gave certain filmmakers free reign with her unpublished work. In this case, Sachs plays with the footage taken on Hammer’s month long residency at Cape Cod. Particularly hypnotic are past Barbara’s meticulous and beautiful attempts to capture new colours in the sun, the sea and the sand, and the spontaneous originality with which she saw the same cabin and its surroundings. Here the translation is very much inter-generational, as Hammer reads from her journal at the time, and we overhear discussions between the two. Sachs revisits this time of creativity in an organic way and carefully scrapbooks it into a philosophical homage.

Note: this particular film makes a beautiful double bill with Lynne Ramsay’s Brigitte which will be out on Doc/Fest Selects in the autumn. She profiles a prolific portrait photographer, trying to see what Brigitte sees in her subjects, and turns that mirror towards her own life and approach to art.   

Full film available as part of Doc/Fest Selects here.

Throughout all these works, the partnership between Sachs and her subjects shines. Often she remains in contact with them, continuing to campaign alongside them. The collection boasts celebrating “translation as a political and poetic tool” and through this glimpse into her career, it is clear that the bridges she builds last. By the end of her films, it feels like both an honour and a necessity to inhabit these spaces and listen to these stories. 

Lynne Sachs Q&A at Sheffield Doc/Fest

July 2, 2020
Sheffield Doc/ Fest – Lynne Sachs – Live Q&A

Our Festival Director, Cíntia Gil is joined by our in-focus director, Lynne Sachs to discuss her films and to take questions from the audience for a live Q&A.  

DATE: Thursday, 2 July 
TIME: 7pm (BST)

The Q&A is free and open to all – please register through link below: 

Lynne Sachs Live Q&A registration

Filmmaker Lynne Sachs, in conversation with Festival Director Cíntia Gil, will discuss 5 films that form her Director’s Focus within the Ghosts & Apparitions strand and her upcoming international premiere of Film About A Father Who which screens as part of Doc/Fest in October. Lynne Sachs’ films explore the notion of translation as a poetic and political tool for widening the world. Together with the focus, Doc/Fest presents Sachs’ video lecture My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World, a fascinating journey through her themes and work. 

Her films are currently available to watch on Sheffield Doc/Fest Selects and Doc/Player:

The Last Happy Day, 2009, 37’
Which Way Is EastNotebooks from Vietnam in collaboration with Dana Sachs, 1994, 33’ 
Your Day Is My Night, 2013, 64’
The Washing Society, co-directed by Lizzie Olesker, 2018, 44’ 
A Month of Single Frames, made with and for Barbara Hammer, 2019, 14’ 


“Which Way Is East” – BFI’s 10 Films to Try at Sheffield Doc/Fest 2020

by Georgia Korossi
26 June 2020

A tip-sheet on films to watch at this year’s Sheffield Doc/Fest, which has begun with an invigorating selection of documentaries to watch online.

Which Way Is East: Notebooks from Vietnam

Section: Ghosts & Apparitions

Which Way is The East: Notebooks From Vietnam (1994)

Described as poems, personal observations and political tools, Lynne Sachs’ experimental documentaries are beautiful experiences. Which Way Is East: Notebooks from Vietnam is a travel diary in which Sachs and her sister Dana journey through a country they previously knew only from TV, discovering its vibrant life and the ghosts of its history. In addition, Sachs’ 35-years-in-the-making project Film about a Father Who will have its international premiere in October as part of the festival’s Into the World strand.

Ubiquarian: The Process is the Practice

The Process is the Practice
By Tara Judah
June 21, 2020

Prolific and poetic, experimental and documentary filmmaker, Lynne Sachs, lights up this year’s online edition of Sheffield Doc|Fest with a mini-retrospective, annotated lecture and her new feature, Film About a Father Who (2020).

Tara Judah

It happened less than ten years ago, when she was working on Your Day is My Night (2013): Lynne Sachs located the performance within her process and set out to challenge/change it. The idea was to gain participation, collaboration. Instead of turning a camera on her subjects – when they would perform instead of reveal – she decided to include them in the construction and craft of her filmmaking; when you point a camera at a subject, you can’t capture, you command. And power, though useful for its authoritative and therefore convincing tone, is also deeply problematic. In a way, what Sachs is doing is quietly radical. Not just because it is an attempt to remove the hierarchy inherent in documentary since Robert Flaherty started its discourse (Sachs is also a Flaherty Seminar alumnus) but, also, because it is an admission and undermining of her own intrinsic and pervasive authorial voice. It’s ambitious, but that’s also where a kind of freedom resides. The ambition is so substantial that it alone is enough; it doesn’t matter if she succeeds. In this way, Sachs’ later work, from Your Day is My Night onwards, is less about subjects and more about process.

Film still from “Your Day is My Night” (2013) by Lynne Sachs. Courtesy of Sheffield Doc|Fest

She’s been making films for more than thirty years, but the mini retrospective screening as part of this year’s online edition of Doc/Fest selects moments from the last decade to fit a through-line about Ghosts and Apparitions. I’m not interested in these, as they could be found almost anywhere, and in anyone’s work. In Sachs’ work all I find – and all I want to find – is respectful practice. There is more than just an artist at work, here, there is a generous exploration at play.

Before Sachs experienced her epiphany, she made Which Way is East? (1994), an arresting, painterly exploration of Vietnam. As one of the first American filmmakers granted permission to shoot in Vietnam, Sachs had the weight of responsibility and expectation on her shoulders. Despite this, the film has a sense of lightness and freedom, especially in its aesthetic and aural approach: it begins with a stilted photographic trajectory, literally rendering the moving image as a series of broad brush strokes, while the almost endlessness of the cicadas’ chirrup pitch moves the image along, though not necessarily forward. It is a sensory introduction, rather than a history lesson, and here Sachs’ work is at its most successful, inviting us, as viewers and listeners to be in this depiction of Vietnam, not to look at or hear a presentation of it. Eventually, Sachs and her camera will arrive somewhere static, she will then switch to a show and tell mode, which is informative but less awesome. She flits between the two with relative ease for the remainder of the film, letting her observations and those of her sister, Dana, interpolate the experience. It is as much about making her own memories as it is the chasing of those left behind by others. Her sister’s remarks are among the most revelatory, “I hate the camera,” she muses, “The world feels too wide for the lens and if I try to frame it, I only cut it up.” Holding a camera and being a filmmaker are not one and the same, “Lynne sees it through the eyes of its lens,” she continues, “It’s as if she understands Vietnam better when she looks at it through the lens of her camera.” For Sachs, the practice has always been the pursuit. She instinctively knew, even before it occurred to her laterally, to share the filmmaking in order to make it more accessible, more honest and more like the world it hopes to offer. It may have taken her another almost twenty years to fully understand and break with the idea of documentary as an act or approach, but there is a silver lining of melancholia inside Which Way is East? It makes me wonder if 1) she already knew and 2) if the practice, though expressive and creative as an outlet is also overwhelming, as there is some sadness here.

Film still from “Which Way is East?” (1994) by Lynne Sachs. Courtesy of Sheffield Doc|Fest

Looking at historical resonance while also pursuing the interplay between the personal and political, Sachs can’t help but put her heart into her films. The Last Happy Day (2009) stars her own children and uses family, performance, narration, interviews and archive to construct a story about stories. For some, it’s a story about Sachs’ relative, Sandor (Alexander) Lenard, a Hungarian Jew who fled to Rome and later Brazil, where he translated Winnie the Pooh into Latin. Lenard spoke thirteen different languages, and no one knew he was Jewish, so the film is also about what we do and do not know, and how we might go about trying to unpick the constructions and obstructions therein. To demonstrate the difficulty to (re)telling history, Sachs has whole through-lines about bones, with several stunning superimposed images that offer the fragments and the palimpsest at once. She even has one interviewee straight up tell us, “I don’t know anymore what’s real and what’s fantasy,” perhaps even a little too direct for a doc, but ironically true nonetheless, “I am not sure of the truth.”

Remembrance is also brought into question via the presence of doctored documents; literal erasure of a name lets us reflect on the ethics and truths that we can never know as so many were removed from our future before they could even make their mark. What struck me most, however, was the role of the central, yet arguably flippant, text. I wonder how the characters are in translation. Sachs’ band of performers – here, her children and their friends – act out scenes and discuss the meaning behind some of the plot points. Inevitably, they end up discussing the death drive when they get to talking about depression and Eeyore. I’ve always hated Winne the Pooh, because I thought he and many of his mates – Tigger, Rabbit, Owl and maybe even Piglet in his cowardice – were bullies, unkind to Eeyore, to whom my heart always went out. If I were Eeyore and had to live in their world, I might also desire death as an end to my depression. Even Christopher Robin didn’t seem to do anything to help, and he was a (white) human, surely the one with all the power. Could be that I remember it wrong, unsure what’s real and what’s fantasy, but in my remembrance, it is a horrible story filled with horrible characters. It’s lack of compassion makes me sad, still.

Film still from “The Last Happy Day” (2009) by Lynne Sachs. Courtesy of Sheffield Doc|Fest

But the film itself failed to move me. It was clever and fits a bunch of paradigms that I’d call smart documentary filmmaking. I even think it’s the most obvious fit for that Ghosts and Apparitions programme title. Perhaps that is why it didn’t move me at all. It’s all a bit too neat, well thought out. Nothing incidental or imperfect. No rough edges. But then I watched The Washing Society (2017, co-directed with Lizzie Olesker) and everything changed.

Thanks to Sachs’ newfound process of inclusive filmmaking, with her subjects, The Washing Society feels like a story from, not about New York City laundromats. Visiting over fifty laundries, Sachs tells us, “Sometimes they told us to stop, other times no one notices.” This is how her filmmaking has fundamentally changed: it’s not a process of requesting permission and setting up a tripod to stage an interview, it’s being in the space, with the people, and finding out what the story is as it unravels. Owing to this shift, the performative set pieces within the film – be it actors reading lines, narrated poetic interventions, or even Sachs’ fascination and lingering look at the way light dances around her subject(s) – are seamlessly integrated into an otherwise seemingly observatory mode. What I liked most was that it felt personal, private, public and political at once; the invisible labour of laundry workers is made visible, while the objects we wear to cover and conceal are laid bare, tossing and turning in machines after their toil, until they are, eventually, ready to perform their duty once more. Clothes are the ultimate in public and private markers; from the hours and loads of labour used to make, market and sell them before they even become hours and loads of labour to clean, fold and return to their often-oblivious wearers. I watched, at home, folding my own laundry, mostly that of my almost one-year-old son, painfully aware as I am that domestic labour (performed here whilst undertaking professional labour) is almost always unseen and almost never remunerated. I loved this film not because it struck a chord, but because it could; its poetry sparing and its humanity, honesty and openness laid out with generosity and as a gesture to the many faces that have served and are fast disappearing from NY’s many regenerated neighbourhoods as an app and its collection truck counterpart take over the (barely) visible nature of the business.

Film still from “The Washing Society” (2017) by Lynne Sachs and Lizzie Olesker. Courtesy of Sheffield Doc|Fest

It’s an important reminder, from Sachs, to think about what is not seen, whenever we reflect on what we have seen. Your Day is My Night (2013) is not just a film; it has had live stage performances and it is alive in the lives of those it features. Beds and stages and monologues and movement and projection are all elements of this docu-dramatic staged record of what it means to be more than how we are recognised. Spanning the deep economic issues of the US, and the failed reality of the outwardly boastful American Dream, all the way to micro-communities and what ‘home’ might ever mean, Your Day is My Night doesn’t show but does reveal the alienation inherent in both Chinese and American society. In making this film, and the live performances that span its production life, Sachs really got to know her collaborators – well, as well as she could with the bridge of a translator. Language can be a powerful separator, and Sachs hints at this in the film by bringing in an actress (Veraalba Santa, who also features in The Washing Society) to play the part of a Puerto Rican immigrant. It’s not Sachs, but her questioning and unease is represented in Santa’s performative role.

In her lecture, My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World, Sachs admits that she is still grappling with the extent to which she should express herself, and the subject. Her body may not be present in this film (it features heavily in many of her earlier, more experimental and material works), but exposing herself has served as a form of generosity, especially where she is asking an actress to expose themselves bare, as in The House of Science: A Museum of False Facts (1991).

Bodies exist but so do thoughts and feelings. And suicide is genuinely considered as an option when old age sets in for those who have no real ‘home’ to go to – neither a citizen of the US or China, there is a unique and pugilistic purgatory for some. Every round is a beating, but fight is what you came to do. I kept thinking of Charles Yu’s fantastic new book, Interior Chinatown (2020) as I watched it. Yu’s book is so many things – maybe everything – a documentary as a book, certainly. A uniquely crafted satire of Hollywood, racism in the United States, and the slippage between screenwriting and prose, Yu’s book looks at the stereotypes of ‘Generic Asian Man’, ‘Background Oriental Male’, ‘Kung Fu Guy’ and more. The people in Sachs’ film feel like characters, at times. Maybe because their lives, like the characters in Yu’s book, are enmeshed with the performance of their parameters – Chinatown in NYC, stuck in a stereotyped nightmare, “I was very aware of the narrow spectrum of representation of the denizens of New York City’s Chinatown,” Sachs tells Paolo Javier in an interview for BOMB Magazine, “Those kinds of Hollywood  images haunted me really. In fact, when I first chose the seven people who are featured in my film, I realized that most of them had already worked as extras for the movie industry at some point in their lives.” Fictions and realities reside, side by side, sometimes even in the same bed, sleeping in shifts.

Film still from Lynne Sachs’s “A Month of Single Frames” (2019) Courtesy of Sheffield Doc|fest

Sachs can’t, shouldn’t and thankfully doesn’t separate these two elements in her films. She works with them. And, now, in her more recent work, she allows the process to become the practice. In her most recent film screening in the programme focus at Doc|Fest, A Month of Single Frames(2019), a work pulling together various pieces of Barbara Hammer’s personal archive – 16mm film footage, journal entries and recorded stories – Sachs lets decisions leak into the final edit, allows us to understand how images move as time lapses. For Hammer as for Sachs as for an audience, frame rates and time passing is only relevant insofar as it is a part of the process that makes up such a thing as a filmmaking practice. It is not important when it occurs, only that it does. In that way, the film is not an archive or an object to be examined or understood. It is the act of holding those things, that person, their feelings, their being.

In this way, Film About a Father Who (2020) is her greatest achievement yet. Digging into far more than the family archive, Sachs takes footage and feelings that span her entire life to create a portrait, not of her father, but of “complicit ignorance” and how pervasive lies of omission might permeate both films and lives, through their intrinsic and insidious power dynamic. Her father is many things, among them a philanderer. Much was uncovered, but he withheld more. This is the role of structure and authority, the act of patriarchy and the act of whomsoever holds power. In this film, it is clear that her father is not the only one with power to play with – his mother, Maw-Maw, is just as commanding, especially as the puller of purse-strings, whose judgement has the ability to grant or take away knowledge, access, identity; family, truth and more. This is what Sachs has been working on all her life because it is the process of uncovering her power and confronting herself. Her aim to frame truth and authenticity will always be compromised by the reality of the moment that the camera is turned on, be it for family or strangers. In Film About a Father Who, Sachs admits that she is filming as a way of finding transparency. It is the ultimate in searching for cinematic veracity. She finds something beautiful and deeply moving, here. Speaking about the differences between her parents, she uses grammar as a metaphor. By extension, her own practice can be understood as a process of grammatic excellence; each thought, memory, scene, time and space given pause and punctuated by still more dancing light.

Film still from Lynne Sachs’s “Film About a Father Who” (2020) Courtesy of Sheffield Doc|fest

Reflecting on the impact of experimental filmmaker Stan Brakhage and his ground-breaking film Window Water Baby Moving (1959), Sachs understands her practice as the unification of art and life, “As a mom and an artist, I was extremely inspired by the way that he integrated his family into his daily practice as an artist. If you separate the two, both suffer.” On her own website, she further imagines “a list of possible lectures one might give in conjunction with the screening of this film [Window Water Baby Moving]. I offer them to you as a vehicle by which to ponder the last forty years of American cultural history.” There are twenty-three. I won’t list them, here. But they did get me thinking about possible lectures one might give in conjunction with the screenings of Sachs’ films. Here’s five of my suggestions.

Confronting Performativity
In Defense of Poetry
The Collaborative Moment
Towards an Understanding of Dancing Light
The Camera as Pencil; Drawing in the Margins

Lynne Sachs Focus at Sheffield Doc/ Fest

June 1 2020
Announcing 2020 filmmakers’ spotlights and our retrospective

Today Sheffield Doc/Fest begins its festival with the international premiere of my feature Film About a Father Who along with a “spotlight” on six of my films.
“Two filmmakers have inspired a special focus: Simplice Ganou and Lynne Sachs” From very different regions of the globe (Burkina Faso and USA), with very different ways of filming and telling stories, both are filmmakers obsessed with the possibility of encountering the other, of building bonds with other humans through their camera, and translating that into cinematic beauty.”

“Drawing on her vast body of works from the past 30 years, we will present a curated selection of films by Lynne Sachs, focusing on the notion of translation as a practice of encountering others and reshaping and reinterpreting filmic language. This focus will be part of the online Ghosts & Apparitions film strand.”

Simplice Ganou, Sarah Maldoror, and Lynne Sachs

In the lead up to revealing our full official selection for 2020 on 8 June, we would like to announce:

  • the theme of our annual retrospective: Reimagining the Land, curated by Christopher Small.
  • and three special focuses: 
    • a screening in tribute to the late French West Indies film pioneer Sarah Maldoror;
    • a focus on American artist Lynne Sachs; 
    • a focus on Burkina Faso filmmaker Simplice Ganou.

Focus on Lynne Sachs

Lynne Sachs headshot
(Image: Lynne Sachs)

Drawing on her vast body of works from the past 30 years, we will present a curated selection of films by Lynne Sachs, focusing on the notion of translation as a practice of encountering others and reshaping and reinterpreting filmic language. This focus will be part of the online Ghosts & Apparitions film strand.

Five Lynne Sachs films ranging from 1994 – 2018 – mostly involving creative collaboration with others – will feature as part of our online programme from 10 June.

Her latest film, Film About a Father Who, offers a complex portrait of Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, shot over a period of 35 years, and will make its International Premiere in Sheffield in October, and following that, online, as part of Into The World Film Strand.

Together with the focus, we will present Sachs’ video lecture My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World, a fascinating journey through her themes and work.

Lynne Sachs focus, in Ghosts & Apparitions online:
Drawing on her vast body of works from over the past 30 years, we will present a curated selection of films by Lynne Sachs, focusing on the notion of translation as a practice of encountering others and reshaping and reinterpreting filmic language. Tensions arise from the filmmaker’s memories of Vietnam as a tragic place of war in Which Way Is East…; The Last Happy Day is a portrait of a man who translated “Winnie the Pooh” into Latin and reconstructed the remains of American soldiers; Your Day Is My Night tells of places in New York inhabited by immigrant workers and shaped by their lives and stories; the translation of Barbara Hammer’s images and sounds on a deserted landscape become a poem for her deceased friend in A Month of Single Frames. If translation can be considered the job of filmmaking, these works become a poetic and political tool for widening our view of the world and touching on its complexity, rendering it intimate and available for thought. Between them – Theatre, performance, music and an extremely sensitive and tender camera – compose a body of work that becomes more relevant each day.

Lynne Sachs (in collaboration with Dana Sachs), USA, 1994, 33 min

“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.”

Two American sisters travel from Ho Chi Minh City to Hanoi, followed by their own ghosts and those of local memories. On their way, they meet a country and its richness – strangers, translations, parables and stories, in a complex landscape. History is put into perspective, as each conversation becomes a true encounter: uncountable possible words to translate what we see and what we hear. The Vietnam they knew from TV is only a tiny part of this world to which they now decide to pay attention.

Lynne Sachs, USA, 2009, 37 min

A portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of Sachs.  In 1938 Lenard, a writer with a Jewish background, fled the Nazis to Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired him to reconstruct the bones of dead American soldiers.  Eventually he found himself in Brazil where he translated “Winnie the Pooh” into Latin, an eccentric task that catapulted him to brief world-wide fame.  Personal letters, abstracted war imagery, home movies, interviews, and a children’s performance create an intimate meditation on the destructive power of war.

Lynne Sachs, USA, 2013, 64 min

Since the early days of New York’s Lower East Side tenement houses, working class people have shared beds, making such spaces a fundamental part of immigrant life. A “shift-bed” is an actual bed that is shared by people who are neither in the same family nor in a relationship. It’s an economic necessity brought on by the challenges of urban existence. Such a bed can become a remarkable catalyst for storytelling as absolute strangers become de facto confidants. As the bed transforms into a stage, the film reveals the collective history of Chinese immigrants in the USA, a story not often documented.

Lynne Sachs and Lizzie Olesker, USA, 2018, 44 min

When you drop off a bag of dirty laundry, who’s doing the washing and folding? The Washing Society brings us into New York City laundromats and the experiences of the people who work there. With a title inspired by the 1881 organization of African-American laundresses, The Washing Society investigates the intersection of history, underpaid work, immigration, and the sheer math of doing laundry. Dirt, skin, lint, stains, money, and time are thematically interwoven into the very fabric of the film, through interviews and observational moments. With original music by sound artist Stephen Vitiello.

Lynne Sachs, made with and for Barbara Hammer, USA, 2019, 14 min

In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshak which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. 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.

International Premiere of Lynne Sachs’s latest film, as part of Into The World screenings in October:

Film About a Father Who by Lynne Sachs
(Image: Film About A Father Who by Lynne Sachs, 2020)


Lynne Sachs, USA, 2020, 74 min 

International Premiere

Over a period of 35 years, Sachs shot varied footage  of her father, Ira Sachs Sr., a bon vivant and pioneering Utah businessman. This is her attempt to understand the web that connects child to parent and sister to sibling. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. Sachs as a daughter discovers more about her father than she had ever hoped to reveal.


BBC Features “Which Way is East” in ‘The 100 greatest films directed by women: Who voted? L-Z’


The 100 greatest films directed by women: Who voted? L-Z


BBC Culture polled film experts around the world for their favourite films directed by women. In total, 368 critics, academics, industry figures and film programmers, from 84 countries responded. Each critic voted for 10 films, ranking them 1 (favourite) to 10 (10th favourite). We awarded 10 points per first ranked film, 9 per second ranked film, and so on down to 1. We then summed the points. The film with the most points won, and films with more individual votes in total ranked higher.

Irina Trocan – Freelance film critic (Romania)
1. Daughters of the Dust (Julie Dash, 1991)
2. White Material (Claire Denis, 2009)
3. The Apple (Samira Makhmalbaf, 1998)
4. Shoot for the Contents (T Minh-ha Trinh, 1992)
5. Zama (Lucrecia Martel, 2017)
6. The Meetings of Anna (Chantal Akerman, 1978)
7. Which Way is East (Lynne Sachs, 1994)
8. Things to Come (Mia Hansen-Løve, 2016)
9. Nuts! (Penny Lane, 2016)
10. Sex Is Comedy (Catherine Breillat, 2002)

World Records Journal presents “English is Spoken Here/ English is Broken Here”






English is Spoken Here/ English is Broken Here:
a conversation about film and language

With Lynne Sachs (initiator), Jeanne Finley, Christopher Harris, Sky Hopinka, and Naeem Mohaiemen

Published in Fall 2018
World Records Journal  Vol. II “Ways of Organizing”

Note:  Journal version includes streaming videos and PDF for download

Edited by Jason Fox and Laliv Melamed

Lynne Sachs: Let us begin with the statement “English is spoken here.” I’ve been thinking about what the implications of this pronouncement might be in terms of an anchoring of a singular language and the drowning of others. So, with the encouragement of World Records, I decided to invite the four of you to discuss and complicate English’s ascendancy worldwide. In both subtle and overt ways, each of you has explored the impact and resonance of this dramatic shift in your own work. With this in mind, I want to ask all of you why and how English has become the lingua franca of our chosen medium and our practice. We are all moving image makers and, generally speaking, what bonds us together is our choice as art practitioners not to engage with the mainstream paradigm for making and distributing our time-based work. Our work circulates outside of industrial networks; and yet, the fact that we have chosen to use the English language as our primary mode of communication and route of circulation (even here!) places us squarely within the established order.  And, to extend the question, I would also encourage all of us to ask ourselves how we might swap out the word “English” for other words, like “narrative,” “state,” or “culture.”


Sky Hopinka: There’s something that really doesn’t sit right with me regarding the suggestion that English is the lingua franca of our chosen medium. I don’t know what exactly, but I’ll touch back on it later.


Naeem Mohaiemen: Maybe the title of Coco Fusco’s 1995 book English is Broken Here is more relevant to where we are now. {1}


Lynne: I like the intimations of the statement “English is broken here,” especially if it suggests that the act of breaking is an intentional one and not a flaw. Fusco’s book was written about twenty years ago in the full blush of multiculturalism. It’s not that I want to romanticize those times either.  Some artists felt liberated by the new set of cultural “rules,” others constrained, even punished. Now, as the years have passed, I wonder how successful that divine impulse has really been.


Naeem: Fusco’s book was one of the first works to parse projects such as Robert Flaherty’s 1922 compelling of his subjects to stage “traditional rituals” on camera. This “reality” of the so-called other is based on Western documentary’s obsession with “discovering” the negation of itself in something that was distinct and “authentically” different. So, to have a body of experience that is initially framed by your (as in Nanook’s) own context, and then to be forced to work within a Euro-American context where those experiences are always othered is to be always performing that difference in front of, and behind, the camera—even if this does not always interest you, or certainly is not always productive for the project.


Lynne: Then in our shared journey as “reality explorers” armed with cameras, do all roads lead us back to Nanook? If so, should we create a chronological schematic that starts with B.N.N. (pre-1922) and P.N.N. (post-1922) and go from there? It is very clear that the rhetoric of this then new form of cinema was structured around English as a form of communication and education, but I would also note that there is still something radical going on here: Flaherty’s camera compels us to listen with our eyes and to take note of Allakariallak (Nanook’s actual name) and his family’s mode of being. We can still imagine the aural dimensions of their language without replacing it with our own native tongue.  The seductiveness of Nanook itself (or dare I say himself) stems from its power to “negate itself” or even him. Nanook is a participant in what I would call a “silenced” film. There is no aural experience for us of his Inuit language. He is silenced. You and Peter both maintain your own volition, but in the end, you as the director choose English.


Naeem: As Erik Barnouw points out, Flaherty’s focus was “authenticity of result,” so the means to get there (for example, shearing away half an igloo to get a well-lit shot) did not disturb him.{2} But what of the damage done to the story of those whose stories he/you/we continue to claim as makers?


Lynne: Naeem, do you think that Flaherty was guiding his cast toward the creation of a language of “the other” that was mimetic (of his own American culture somehow) rather than authentic? Might you or any of the rest of us ever have done this in our own practice—unintentionally privileging a project’s need to be articulate, aesthetic, or polished?


Naeem: When I first approached Dutch scholar and activist Peter Custers in 2011 (for Last Man in Dhaka Central, completed in 2015), his wish to speak to me only in Bengali/Bangla was driven by his idea of what would be the fundamental bond between us within the film. I knew that I wanted him to talk in depth about the theoretical and tactical debates the underground Left (Moscow, Peking, etc. tendencies) was waging in Bangladesh. And that was a conversation that needed to happen in English, a language in which Peter did most of his writing, on Rosa Luxemburg or Kazi Nazrul Islam. I think there was a disconnect there, between what language people may have felt we “should” talk in and which one we do talk in. There is a scene on the train when I compliment him on his Bangla reading and he replies that he feels fluent in “political literature” but not everything else—I suppose he meant high-form literature. I wanted to get into the nitty-gritty of the Left debates of that time, which I felt would not flow in Bangla because his skills were commendable but not first language fluent. Over the course of three years I did not want to keep talking in broken Bangla.  On the last day of the shoot, he noted, “But you have not heard me speaking in Bangla on camera.” So at his request, he read out a poem written by Khorshed Bhai. The film bent to his gentle will in the end. I always say that film had two directors, myself and Peter.


Lynne: I recently saw the film In Time to Come (2017) by Singaporean filmmaker Tan Pin Pin. In her film, Tan bears witness to the transformation of her multicultural, Chinese-speaking country into an English-only nation where it appears that the most basic class divisions are designated by one’s ability to speak a foreign tongue. Tan Pin Pin asks her audience this question: “How can true connection take place when so much has been pre-shaped and destroyed by a government that’s only looking out for its own interests?” Tan is a maker who continues to live, speak, and make work in a country where her own language is being systematically decimated. Considering her explicit critique of her own country’s agenda, it seems fortuitous that she has enough creative agency to address this erasure in her films.


Jeanne Finley: I have often employed contested language to explore how individuals can be shaped by the social and cultural institutions of family, religion, and the state, yet remain in conflict with the identities ascribed to them by these institutions. Tan Pin Pin’s questioning in her film suggests that prescribed state structures are bound by language. Perhaps work that seeks to dismantle the yoke of state-controlled language might have a shot at creating true connections. The first thought that came to mind when considering these questions of broken/spoken English was the 1979 song, “Broken English” by Marianne Faithfull. Faithfull was inspired to write the song after reading a garbled subtitle, “broken English…spoken English” while watching a documentary on Ulrike Meinhof, a co-founder of the communist terrorist group Baader-Meinhof Gang later dubbed Hitler’s Children. The song feels prescient in today’s world where a middle ground between extreme ideologies is becoming increasingly rare.


Lynne: Do you think that English standing in for stability, and for a particular world order, is what is being challenged?


Jeanne: Preciscely. With the disaster that had unfolded in Southeast Asia, (American) English—the language of Democracy—as the primary post WWII stabilizing force has started to falter, and Faithfull gets to the heart of that sentiment in this song. I followed just that thought to Youtube (1) and there she is in a short-sleeved pink pantsuit, the scar slashed across her left cheek, the camera tracking slowly towards her from a wide shot to a close-up while lights pan the stage where she stands singing in her permanently cracked, low-pitched voice, imploring us to say it all in broken English:


It’s just an old war

Not even a cold war

Don’t say it in Russian

Don’t say it in German

Say it in broken English

Say it in broken English



Naeem: Do you think the only languages she could imagine at that time were German, Russian, or English? This speaks volumes about the blinders of what people thought was the operations stage of the Cold War.


Jeanne: I am less likely to think this is a lack of imagination. Rather, her language choice is reference-specific to the fissure running through the heart of Europe, metaphorized as an Iron Curtain splitting the continent in two.


Lynne: And with the hindsight that time offers, what do you think a singer-songwriter like Marianne Faithfull is trying to say about the relationship of language to the Cold War?


Jeanne: While living in Eastern Europe during the collapse of communism and the fall of the Berlin Wall, I was utterly stunned by the rapidity with which an entire state system was dismantled.  Communist rhetoric had led me to believe that the state held absolute power over the Soviet satellite nations. However, Václav Havel, the dissident, underground Czech playwright who became president in 1989, made the argument that while resistance may seem futile, it is not. In “The Politics of Hope,” he insists that although those who strive to use language to combat the assault on truth might appear weak in the face of Goliath, each stab into the opposition weakens the oppressor.{3} He made this claim as he staged his plays in the basement of his Prague apartment and was repeatedly jailed for it. But still, he managed to get his writing out to the West and translated into English so it could be distributed worldwide, amplifying his voice. We watched as the groundwork his writing created helped weaken an oppressive, Moscow-controlled, communist dictatorship.


Christopher Harris: In 1972, the great composer, arranger, bandleader, and pianist Sun Ra recorded an original composition “It’s After the End of the World” with his Intergalactic Myth Science Solar Arkestra. The song begins with vocalist June Tyson leading the Arkestra as they repeatedly chant, “It’s after the end of the world, don’t you know that yet?” (2)  In the Anglophone western hemisphere, “English is spoken here,” after the end of the world. That is, for the descendants of Africans in the so-called New World, English is the language of the post-apocalypse, provided, of course, that the Middle Passage is properly understood as a profound rupture, a world-ending disaster for those who made the voyage as cargo. Jeanne, these lyrics in Faithfull’s “Broken English” are relevant here:


Lose your father, your husband

Your mother, your children

What are you dying for?

It’s not my reality


Counting the suicides and survivors, 13.4 to 16 million fathers, husbands, mothers, and children were taken by the abyss of the Middle Passage. Along the way and continuing for centuries after throughout the Americas, native tongues (not to mention belief systems) were violently suppressed if not nearly altogether erased in the attempt to transform Africans into farm implements.


Lynne: So, as I see it, both of you, Chris and Jeanne, are thinking about music’s response to power.

Music doesn’t have to play by the rules in the same way that a spoken language does. Are there other zones where you find this to be true?


Chris: Clearly, Black people in the United States have a vexed relationship to English, as evidenced in part by half remembered debates about Ebonics and the mocking, wildly exaggerated, stylized speech patterns of minstrels that persists even today in the cadence of certain white hipsters.


For many, Black English is a sign of cultural deficit, a flaw in the body politic of a Black nation that is offered as evidence of an inferior caste deserving of arrest, defunded schools, environmental racism, summary executions by police, and all manner of further depredations. English is spoken here, after the end of the world, after the end of the universe. Black English, Black speech, however, is spoken in the hereafter, in the abyss. Black speech is spoken through, beyond, and outside of English, outside of words. It’s spoken through the movement of Black bodies, the motion of Black music, the fragmented objects and off-kilter spaces of urban landscapes before the erasure of gentrification is complete. If one knows how to listen, one hears it in the glossolalia, the slurred, bent, broken notes, and split voicings saying things that English was never intended to express, things that English was supposed to suppress. Bebop is spoken here. (3) https://www.youtube.com/watch?v=u7slr02RsdY  In “Repetition as a Figure of Black Culture,” James A. Snead argues that Black culture confronts “accident and rupture not by covering them over but by making room for them inside the system itself.” Snead explains that, if there is a goal in Black music, dance, and language:


… it is always deferred; it continually “cuts” back to the

start, in the musical meaning of “cut” as an abrupt, seemingly

unmotivated break… with a series in progress and a willed

return to a prior series. …The ensuing rupture does not cause

dissolution of the rhythm; quite to the contrary, it strengthens

it, given that it is already incorporated into the format of that



By incorporating rupture as a constituent element in this way, Black culture transforms disaster into a generative force. I am directly inspired by this embrace of rupture and I attempt to exploit the expressive potential of disjunction in my own practice as a filmmaker. For example, my film still/here (2001) is about sites of disaster and rupture, the ruins in North St. Louis where the city’s Black population live. The film is structured around a fundamental antagonism between image and sound occasioned by these ruins. Image and sound occupy the same space but at different times. One is the past of the other, or perhaps one is the premonition of the other. They can’t be fixed in relation to one another but in that very antagonism is all of the meaning in the film. It is a film that is fundamentally at odds within itself. The rupture between sound and image is the constituent element of the film. The film is, in a sense, double-voiced. I want my films to speak to and through rupture, to resist the way monoculture, in the parlance of Black vernacular speech, talks out of the side of its neck when it isn’t talking out of its ass. In that regard, there’s often a great deal of tension between the work of Black cultural producers and the established venues that exhibit and fund such work, not to mention the tension between that work and the way the critical establishment receives it. We see this tension in the presumption that Black art is separate from experimental or avant-garde art. This tension, indeed, this contradiction, is inevitable because the work is produced from within a culture of settler colonialism, genocide, slavery, and racial capitalism that, in the words of the current President, “tamed a continent.” So, when my work goes out into the world, it is subject to these sorts of presumptions, that is, that it has to be tamed, domesticated within the politesse of established cultural apparatuses. For me the question becomes, “who is implicated?” I want, more and more, for my work to implicate, to do the work of incivility. Might that alienate those institutions on which it relies? Perhaps. I’m ready to test that possibility. (4)


Sky: I don’t know if English is broken, here or elsewhere. Lynne, you proposed an idea to transpose a different word for “English” and I’ve been thinking about what that could be. “Dialect” offers something specific, as does lingua franca, but it feels like what is being pointed at is the utility of this wide range of language systems that we call English.


Naeem:  I want to pick up on Sky’s use of “utility” (which I presume he meant critically) and add “forced” to it. There are all sorts of ways that English dominates because of the presumed efficiency it brings to human exchanges. This focus on utility imposes an unimaginative universalism.


Lynne:  One might think of Ogden and Richards’s idealistic but ultimately reductive 1923 proposal for a B.A.S.I.C. language that would simplify global communication.{5}


Naeem: At a recent “Asian Curatorial Forum” conference organized by the Bengal Foundation in Dhaka, the Chinese curator had a translator with him. It meant that presentations went into double-time, because first he would make a lengthy point, then the interpreter would translate, then someone would ask a clarifying question. I was thinking that this is what it’s actually like trying to communicate across borders—the presumed utility of English vanishes these difficulties.


Sky: I get your point, but what I’m referring to specifically is the dialects of English that have sprouted out of that colonization.


Lynne: Are you saying, Sky, that English in whatever new form it is expressed, can actually be of use to those who do not claim to own it but rather to embrace it in their own inventive ways.


Sky: Speaking to my own experience, I’m referencing specifically North American dialects, such as Reservation dialects, Black Vernacular English, various creoles and pidgins that have developed over the years. I won’t look at these communities as victims of a broken system, but rather as groups of people that have adapted and shaped this language for their own purposes, survival, representations of culture in spite of those colonial acts. How they are speaking “English” in spite of those oppressive claims that it’s not “good English.”


Naeem: I think of the place of English, on page or screen, alongside all the languages it is crowding out, constantly. I feel it acutely because English has, by now, colonized a large part of my thinking. In 1972, newly independent Bangladesh imposed a post-independence “shorbosthore Bangla/Everywhere Bengali” policy. This meant English has never developed as a primary, or even significant language of discourse in Bangladesh. That is changing under pressure from English language publishers. But the change is tiny, and one need only contrast the impact of a newspaper op-ed written in English in the Daily Star and one written in Bengali in Prothom Alo. Since these are sister publications, we can presume they have similar infrastructure—yet the Bengali newspapers’ circulation dwarfs that of any English newspaper. Travel outside of Dhaka, and you will rarely see an English-language newspaper lying around in a tea stall, restaurant, or any other public venue.


Lynne:  So your critique does not fall with the more mainstream newspapers that convey the daily stream of events to the general public but rather with the art world in Bangladesh? Is it the art world then that is sacrificing the integrity of the Bengali language and culture in order to move with more viability into the  global conversation? I am interested in the way that both you and Chris are analyzing the dissemination of your own work in the art world vis-à-vis your own appropriation of a standard English idiom.


Naeem: The hegemony of English as an international art language has reinforced a Biennial-Art Fair-Museum arc that orbits around established centers of power. Attempts to enter this so-called “globalized” space has produced stylish English-language art magazines. But are enough Bengali people actually reading or thinking in this language? Why aren’t there more Bengali language art journals with the funding, marketing, and visibility of the English publications? Most of my projects are also in English. I know that being in English limits who can see it in Bangladesh; but it does not necessarily widen who will see it elsewhere. After all, there could always been subtitles.


Sky: I can’t think of English as the philological manifestation of the oppressor. I remember having a conversation with a friend of mine while we were working on a language revitalization project for a tribe in the Pacific Northwest, and she said that English is the enemy—in English. It was both funny and tragic—that the only way we can express our oppression was through this language.  But her dialect of English was different from mine. Her accent told me something about who she is and where she’s been. If I continually thought about how my use of English is representative of my oppression, I’d feel stressed to the point of exhaustion and give up. While the attitude that being a monoglot is preferable is a very American idea, and the inherent racism and classism amongst American dialects of English is pervasive, there still exists a wide range of vernaculars, tongues, and talks of this Germanic Creole that are full of resistances and sparks of identity that should be given permission to be accepted. Or don’t, because who needs permission to be who you are and speak the way you speak?


Naeem: Permission not needed to speak as you do, but it is ok also to parse why and how our preferences develop. For many artists, weirdness and not-fitting-in has been the first thing to be leached away by the broadening of an audience. Sometimes one way of being outside the parameters is not to speak in English, and that position is often the first to fall away as international circulation arrives. For those who do not read the language, I repeat here the slogan we often use after each catastrophic event in Bangladesh history: Keep calm and learn Bengali. [6]


Jeanne: Naeem’s suggestion that, sometimes, a way of claiming one’s position outside of the hegemony of what is thought of as traditional social norms is to speak in a language other than English, can also be considered in the inverse—that the manipulation of the English language can be used by those in power to dull meaning and keep the public uninformed and thus on the outside.  Media scholar Edward S. Herman demonstrates how the government and mass media manipulate words to make us accept the unacceptable.{6} The use of language/propaganda as a means to obscure meaning rather than to clarify has always been a part of political discourse, and the romantic idea that there once was an era of truth that has now been lost is not useful. However, the mechanics of language manipulation are specific to the constantly evolving communication technologies. What is compelling for me as an artist is to use the deconstruction of incoherent language as a means to build new and more equitable options.


Lynne: Jeanne, you’ve been looking at this disparity in language between clarity and an intentional, manipulative warping of meaning in your own work for a long time. Can you tell us about that?


Jeanne: In the 1990s, I made a film titled Involuntary Conversion. Its premise was simple. I gathered as many examples of doublespeak that I could find in the printed and broadcast media. For example:


Involuntary conversion with the ground = a plane crash

A catastrophic misadventure of a high magnitude = amputation of the wrong limb


At the time I was traveling frequently, and I shot footage from Japan to Bulgaria, as well as in the USA, that captured these examples of the disparity between language and meaning. I wrote a narrative script utilizing all the doublespeak words and phrases I could find and recorded a voice-over that begins, “These are the days of permanent pre-hostility” (peace), and meditates on the relationship between language, meaning, and social decay. The translations of the doublespeak, “peace,” appear over the footage as text. (5)  My 2017 film Book Report (co-created with John Muse) is an extension of this investigation in our current era of misinformation and post-truth that acknowledges the changing methodologies of disseminating misinformation. In Book Report, we focus, in part, on Twitter language, and its accompanying overuse of the air quote—that ironic gesture of two hands reaching up to face height, with forefinger and middle finger extending up from the fist and clawing back down twice in quick succession, or as punctuation, taking up two characters out of 140 in a tweet, to imply we aren’t serious, that sarcasm rules over earnestness, and nothing means what it seems. The air quote, along with all caps, destabilizes the ability of language to impart meaning and eliminates the author’s responsibility for what they are saying. As author and journalist Moises Velasquez-Manoff states, it weaponizes irony.{7} We hope for language to clarify, to offer the revelation of meaning through its very complexity. Yet the weaponization of language is most forceful when it is blunt, simple and asks nothing of the reader. Many non-fiction/experimental filmmakers insist on complexity as a means to disarm the weaponization of language that incessantly fire at us in today’s social media and internet platforms.


Lynne: Could these Cold War issues be generational?


Jeanne: Absolutely. My parents were in their very late thirties when I was born and every adult on both sides of my family participated in WWII. My mother served on an Army Red Cross ship and participated in numerous missions including liberating the concentration camps. When I was a resident at the Camargo Foundation, I realized as I gazed out to the Mediterranean Sea just east of Marseille, that she had been on a Red Cross ship, exactly where I was staring, during the invasion of Southern France. I created a site-specific projection installation from interviews with her about that mission. So the specifics of my familiarity with language propaganda and Cold War ideology is rooted in my generation.


Naeem: Has everyone seen Sam Green’s film The Universal Language (2011)(hyperlink: https://www.youtube.com/watch?v=BjxLej9QHXo), which  traces the history of Esperanto, the artificial language that was created in the late 1800s by a Polish eye doctor who thought that if everyone in the world spoke a common tongue, humanity could overcome racism and war. “Esperanto” means “one who hopes.” Hope died twice for that community, once after 1914 and then again after 1939. When I found out Sam was working on Esperanto—precisely when I was struggling with the position and valence of English in my work—it felt as if he was moving toward a solution to same problem.


Lynne: What exactly were the problems around language that you were facing?


Naeem: Most of my films have a script that starts in bits of Bangla and English. Eventually though, the whole script converges toward English. There are many reasons for this, not always well thought out. One is that I liked the idea of the audience being able to close their eyes and just listen for periods, as in United Red Army (2011) where a majority of the film is in the dark. So, using English became a way to do that. Another is the temperature of English, how it feels as a language for me. I can move to modes of irony and distance in English. I cannot do the same in Bengali. The way I feel about my first language (as opposed to my acquired language) is more of a warmth. I am tremendously troubled by this. There are bits of Bengali in all my films, but never a whole film in that language. So, when Sam started researching Esperanto, when his film was completed, it offered a way to think about the language-heart link. Esperanto came from an activist heart, a very different impulse. (6)



Sky: What was standard twenty years ago is different now, maybe in small ways, maybe the overall accent or pronunciation here or there, or the meaning of a word has changed, whatever it is – it’s different. That’s where I’m optimistic—not only because I must be – but because that’s where the utility of this language comes in. If the purpose of language is to communicate the needs of your existence to another then the place we exist in today offers much versatility for the acceptance of the words we choose and use to describe who we are and what we need. Twenty years ago, I was a Native American. Today I’m Indigenous. There are nuances behind those terms that offer a lot of avenues to go down, about the specificity of identity. Maybe not enough, but that’s the point.  Perhaps I’m being too optimistic—a lot of vile things have been said in English throughout the Anglo colonization of the world. Maybe what’s broken now is General American English. I haven’t read the Fusco book—I eventually will—but allowances for those specificities will only allow our understanding of the languages of English we speak to have a place of respect and not derision.


*note* Since writing this earlier this morning I’ve gone back and forth a lot about what I meant and changed my mind a dozen times and thought more about how to approach this idea of “English is spoken here” or even “English is broken here.” Another part of that idea is questioning or defining where “here” is. Is it in the academic discourse surrounding representational media? Is it in the personal scopes of identity that are as diverse as they are infinite? Is it in the political/social/economic/cultural localities of strife? No clue.


Uncle Adrian…

Here I am in the reservation of my mind

and silence settles forever

the vacancy of this cheap city room.

In the wine darkness my cigarette coal

tints my face with Wovoka’s shade

and I’m in the dry hills with a Winchester

waiting to shoot the lean, learned fools

who taught me to live-think in English.{8}


I also have no clue how relevant this quote is from Adrian C. Louis, a member of the Lovelock Paiute Tribe, who wrote the poem “Elegy for a Forgotten Oldsmobile,” but those last two lines of the stanza, “waiting to shoot the lean, learned fools / who taught me to live-think in English” have always stuck with me for their violence, heartbreak, irony, and tilted resignation. Adrian’s poetry never shows up in my work explicitly, but the influence it’s had on me shows up in other forms. Even thinking through the representation of the poet Diane Burns’s work in I’ll Remember You as You Were, not as What You’ll Become (2016). Those pairings of texts are ways to try and express something inherently inexpressible. (7)


Lynne: “Elegy for a Forgotten Oldsmobile” is such a vivid poem of anguish and awareness. It makes me think about the way we are all pushed to make films that can be understood, at least in terms of language. Beginning with my film Which Way is East: Notebooks from Vietnam (1994), I had to grapple with the presumption, which so many filmmakers have, that in order for language to be appreciated in its totality it must be translated into the dominant language (and historically the language of the oppressor in Vietnam), in our case English. In this film, I included a variety of Vietnamese parables, delivered to the audience as either on-screen text or aurally on the dialogue track.


This parable comes at the beginning of the film, for example: (8)


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.


As I was making the film, it occurred to me that the meaning of a parable seems so obvious to someone who comes from the culture from which it originated, but that it may remain quite opaque—like poetry, in the best of ways!—to a person who lives outside that society. During the step-by-step challenge of creating the subtitles for the film, I came to realize that translation might not necessarily be a pro forma gesture, but rather has the potential to complicate the initial experience of travel as a step in the production process and editing as a task that is connected to the return to home. I began to imagine a disrupted delivery of “information” where I would use an easy translation of a parable, then an un-translated parable, then the sound of my sister Dana (an American) struggling to speak the Vietnamese words in the parable with her tutor; the variation on the theme unraveled in various iterations throughout the entire film. In this way, I encouraged my English-speaking audience to listen more carefully to the sound of a language they do not speak, to know what it is to be outside and perhaps alienated from a culture that is not their own. I played with this strategy again in my Walter Benjamin-inspired short essay film The Task of the Translator (2010) where I conducted a series of language experiments. In one section, my camera witnesses a group of Latin scholars confronted with the haunting yet whimsical task of translating from English to Latin a New York Times article on the burial rituals of an Iraqi woman tasked with the cleaning of a suicide bombing victim. At the 2018 Flaherty Film Seminar, I saw your 2015 Venite et Loquamur, Sky,  in which a group of Latin students and teachers gather for an immersive week-long, Latin-only retreat. Clearly, there is something very seductive for both of us about a seemingly moribund language, a language that exists outside the parameters of utility, taking flight anew. (9)

More recently, in The Washing Society (2018), I include sections in which un-translated Chinese and Spanish voice-overs (based on interviews with immigrant washer-women) are woven together. My co-director Lizzie Olesker and I hoped these two intertwined languages could convey both frustration and revelation through their timbre rather than their meaning. (10)


Chris: I did something similar in my film Distant Shores (2016) where a woman speaks English in voice-over but the same woman is also heard speaking in untranslated Arabic through what seems to be a loudspeaker located somewhere within the imagined diegesis of the film. The refusal of translation into English is a deliberate, perhaps tiny, gesture as a little present to Arabic/English speakers in the hope that they have a different, perhaps fuller, viewing experience than the viewer who doesn’t speak Arabic. (11)  Speech is something that a body does and bodies speak body language. Maybe bodies speak English as in “putting English on it.”{9} Be that as it may, thinking in terms of speaking bodies, bodies that speak and body language makes me think of Harvey Young’s Still Standing, where he writes about black captives in South Carolina.{10} Thinking about Black body language in this context, it seems clear that this history of enforced stillness continues to inform the way Black bodies are rendered mute today, confined within the holding cells of the prison-industrial complex and lying dead in the middle of a Ferguson, Mo. street for four hours. The muteness of Black bodies is implicated in the way English is spoken here.


Lynne: Chris, when you wrote “I think about the body because speech is something that a body does and bodies speak body language,” I thought about Roland Barthes writing about a French soldier in Korea who realizes that his own writing has somehow become assertive.  This kind of embarrassment started, for him, very early; he strives to master it—for otherwise he would have to stop writing— by reminding himself that it is language which is assertive, not he. An absurd remedy, everyone would surely agree, to add to each sentence some little phrase of uncertainty, as if anything that came out of language could make language tremble. By much the same sense, he imagines, each time he writes something, that he will hurt one of his friends….{11}


Jeanne: Barthes’s soldier becomes aware that his discomfort was generated by the sense of language producing a double discourse. He knows the aim is not truth but suggests that perhaps adding a sentence of uncertainty can bring us closer to understanding the assertiveness of language. His dilemma is remarkably similar to the one we face today:  how do we live with the subjectiveness of truth as we ground ourselves in the pursuit of understanding of what takes place around us and the reality of how it affects individual lives. In this era where nothing we read or see can be confidently believed, how can filmmakers, photographers, journalists, and philosophers examine the notion and value of truth in cultural production?  One current unfolding method of documentary investigation utilizes the cinematic power of non-fiction staging to make evident the relationship between fact and fiction within our information culture. The questions of who is speaking, what language, and under what direction, is made through multiple layers in the construction of the film itself, moving deeper into the question of truth than is possible through the self-reflectivity of the filmmaker.


Lynne:  Are you claiming that a hybrid form of filmmaking formulates an implicit question of each and every traditional genre—from the personal documentary to the low-budget indie to the news report? No cinematic genre is allowed to maintain its own hermetic, unchallenged linguistic space.


Jeanne: As Naeem critically states above in regards to Nanook of the North, staged scenes are nothing new to documentary. They form the foundation of documentary practice and reenactments have become a frequent documentary trope in a wide range of films from Errol Morris to Vicky Funari to Joshua Oppenheimer. Harun Farocki’s film An Image (1983), documents the staging of a Playboy photograph, and directly addresses the question of the relationship of a staged image to the real. The presence of the camera always has and always will affect the scene before it. Examining how filmmakers make use of staging today is central to to the question of truth within any given scene or subject. It provides an opportunity for the unraveling of the construction of a given set of facts. It is perhaps one of the most powerful tools in combating the battle cry of ‘fake news’ and is used very effectively in the 2015 Russian film Under the Sun directed by Vitaly Mansky. The film begins with declarative language from the filmmakers that explains the circumstances of producing the film and provides a context in which to read the visual language of the film in relation to the spoken language.Under the Sun begins with the statement: (12)  The script of this film was assigned to us by the North Korean side. They also kindly provided us with an around-the-clock escort service, chose our filming locations, and looked over all the footage we shot to make sure we did not make any mistakes in showing the life of a perfectly ordinary family in the best country in the world.


After this statement, we see documentary scenes, staged exactly as the filmmaker’s minders intended, of a girl and her family preparing for her to join the Korean Children’s Union on the Day of the Shining Star (Kim Jong-il’s birthday). But the filmmaker also gives us the heads and tales of every scene—the down moments before and after “roll tape” and “cut” are announced. In these heads and tales, a completely different emotional tenor and bodily relationship between the subjects and their environment is represented. There is a palpable deflation of the optimistic energy that the staged scenes are designed to convey. We are asked as viewers to sort through this and to make sense of these radically different emotional states.


Lynne: A fascinating example of the way that film can create two parallel languages: the language of power and the language of doubt finally carry equal weight. Do we as artists need to continually remind our audience to doubt what the established order is offering?


Chris: I am a descendent of farm implements, that is, people who were treated as farm implements by other people who subscribed to the values of the Enlightenment. Scientific racism is troubling to me in the sense that it isn’t just called racism, i.e. that the racism isn’t enough to cancel out the utility of the modifier “scientific.” Charles Murray, conservative writer and author of The Bell Curve, can (attempt to?) make a scientific case for the inferiority of Black people. Drapetomania was a conjectured mental illness that supposedly caused Black people to flee captivity, a theory that is seen now, retroactively, as a pseudoscience but it had to pass through science first on its way to becoming pseudoscience. These aren’t merely academic questions of the scientific method. It’s one thing to be wrong about physics until new science comes along. It’s quite another to organize a society around structural anti-Blackness so that the errors are a feature and not a bug.


Lynne:  How have you recognized and put light on these layers of cultural discourse/truth in your own work, Chris?


Chris: I engaged with this in my three-channel video installation A Willing Suspension of Disbelief (2014) and the split-screened video installation Photography and Fetish (2014) which I made in response to a 1850 daguerreotype of a young American-born enslaved woman named Delia who was photographed stripped bare as visual evidence in support of an ethnographic study by Harvard professor Louis Agassiz. Agassiz held that racial characteristics are a result of differing human origins. In this work, I restage the daguerreotypes and split the figure of Delia so that she becomes both the object of Agassiz’s (and the viewer’s) gaze while simultaneously returning that gaze and articulating her subjectivity, or, speaking her mind. She gives us a piece of her mind and in so doing, disrupts the discourse of disinterested science by speaking directly to that science, while pinned like a butterfly specimen. This work posits her figure as irreconcilable, beyond recuperation in the terms of Western science. Agassiz wanted the enslaved Black body to speak the language of the commodity. His self-proclaimed project was the pursuit of scientific truth, a project to which Murray and others lay claim today.  For Agassiz (and many others like J. Marion Sims who invented modern gynecology by operating on enslaved women, some as many as 30 times without anesthesia), the quest for scientific truth was not troubled by the subjugation of Black bodies into farm implements, on the contrary, it both depended on and authorized it. As before, during the presumably pre-post-truth era of Agassiz and his heirs, police are going to continue patrolling and occupying Black spaces and they will continue to shoot, incarcerate, monitor, and otherwise colonize Black bodies, rendering Black body language mute. (13)


Lynne: What you are describing then, Chris, is a universally-enforced language for every aspect of reality—one that is constructed, maintained, and policed by the state.


Chris: Visual and media anthropologist Toby Lee has written about reality being used as a tool for the oppression of people of color, so I don’t have an unproblematic relationship with the notion of restoring reality as a stable ground for discourse. For Black people anyhow, being unrealistic has been an act of resistance so I’m quite wary of responding to the current era of “fake news” with a re-inscription of the real. I think we the surreal, the Afrosurreal, the hyperreal, not simply reality.{12} Or, deeper still, as Sun Ra says in the film Space is the Place (1974):


“How do you know I’m real? I’m not real, I’m just like you. You don’t exist in this society. If you did, your people wouldn’t be seeking equal rights. You’re not real. If you were, you’d have some status among the nations of the world. So we’re both myths. I do not come to you as reality, I come to you as the myth, cause that’s what Black people are, myths.” (14)


Jeanne: The dialectic of the mythology and the real can be held simultaneously without one negating the other. The embracing of seemingly opposite states, living comfortably in both, despite the irritation that the conflict might create, feels like a job that artists are frequently assigned. Language can define and constrict. Language can expand and liberate. Broken language/spoken language offers the possibility to move through complexity towards a reconciliation of both the myth and the real.


Naeem: Bengali is what I spoke with family, English is what I read books in, sometimes even in a private place away from family (well, while sitting on the balcony of the family home—so not really “away”). I am sure there’s a way to theorize all this, but what it comes down to is that English becomes a language of keeping some emotions at a distance.


Chris: We’ve known for quite some time now, as established fact, that “race,” for example, in genetic terms is not a fact, yet that knowledge, that truth, hasn’t stopped a single cop’s bullet from going through Black bodies at routine traffic stops. I suppose what I’m wondering is, given this history, after we pass through the present era of post-truth, then what?


Lynne: Then maybe the problem isn’t really with English per se, but rather with language of any kind as it circulates through our mass and social media, warping perception, turning readers toward unwarranted acts of violence in the name of some atrocity or belief that is completely unfounded by any shade of truth. Words—generated from ideology and malevolence—are inciting such horror.


Sky: I don’t really know what to say to that. There is power in the language we speak, but those are reflections of deeply ingrained systems of oppression, privilege, and racism in societies we live in.  The words we choose then have the same power to create understanding, inspire, mobilize, and unite.  At least that’s what I have to believe.




Jeanne C. Finley works in film, video, photography, installation, internet, and socially engaged work to create hybrid documentary and expanded cinema projects. Her recent projects weave a discursive, cinematic fabric of narrative, documentary interviews, scientific evidence, and archival and original footage to investigate sites of transformation. The resulting films, installations, and social engagement projects employ collaborative processes with artists, scientists, audience members, and subjects.


Christopher Harris is a filmmaker whose films and video installations read African American historiography through the poetics and aesthetics of experimental cinema. His work employs manually and photo-chemically altered, appropriated moving images, staged re-enactments of archival artifacts, and interrogations of documentary conventions.


Sky Hopinka was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, and Portland, Oregon and is currently based out of Milwaukee, Wisconsin. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His work centers around personal positions of homeland and landscape, designs of language and facets of culture contained within, and the play between the accessibility of the known and the unknowable.


Naeem Mohaiemen combines films, installations, and essays to research failed left utopias and incomplete decolonizations—framed by Third World Internationalism and World Socialism. The terrain is “a revolutionary past meaningful in the sudden eruption of a revolutionary present.”{13} In spite of underscoring a left tendency toward misrecognition, a future international left, against silos of race and religion, is a hope in the work.


Lynne Sachs makes films, installations, performances, and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics, and layered sound design. 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 her work with every new project.






{1} Coco Fusco, English is Broken Here: Notes on Cultural Fusion in the Americas (New York City: New Press: 1997).

{2} Erik Barnouw, Documentary: A History of the Non-Fiction Film (Oxford: Oxford University Press, 1974).

{3} Václav Havel, “The Politics of Hope” in Disturbing the Peace: A Conversation with Karel Huizdala (New York: Vintage Books, 1991).

{4} James A. Snead, “On Repetition in Black Culture,” Black American Literature Forum 15, no. 4,  Black Textual Strategies, Volume 1: Theory (Winter 1981). p. 146–54.

{5} C. K. Ogden and I. A. Richards, eds. The Meaning of Meaning: A Study of the Influence of Language upon Thought and of the Science of Symbolism (New York: Harcourt, Brace & Co.: 1923).

{6} Edward S. Herman, Matt Wuerker, eds., Beyond Hypocrisy: Decoding the News in an Age of Propaganda (Montreal: Black Rose Books, 1992).

{7} Moises Velasquez-Manoff, “Trump Ruins Irony, Too.” New York Times, March 20, 2017, https://www.nytimes.com/2017/03/20/opinion/trump-ruins-irony-too.html.

{8} Adrian C. Louis, “Elegy for the Forgotten Oldsmobile” in Fire Water World: Poems (Albuquerque: West End Press, 1989).

{9} http://www.english-for-students.com/Put-English.html

{10} Harvey Young, “Still Standing: Daguerreotypes, Photography, and the Black Body” in Embodying Black Experience: Stillness, Critical Memory, and the Black Body (Michigan: University of Michigan Press, 2010), p. 26-75.

{11} Roland Barthes [placeholder]

{12} Toby Lee, “The Radical Unreal: Fabulation, Fiction, and Fantasy in Speculative Documentary,” lecture from Visible Evidence Conference, August 8–11, 2018.

{13} Kaelen Wilson-Goldie, “Sarjah Biennial 10: Plot for a Biennial,” Bidoun 25, no. 25 (2011), https://bidoun.org/articles/sharjah-biennial-10.

“On Writing the Film Essay” by Lynne Sachs

 “On Writing the Film Essay” by Lynne Sachs
Published in Essays on the Essay Film, edited by Nora M. Alter and Tim Corrigan
Columbia University Press, 2017

Note: All of the films I discuss in this essay can be found on www.lynnesachs.com

Essays on the Essay FilmI feel a closeness to writers, poets and painters, much more than to traditional film directors. For one thing, we ciné experimenters are not bound by the plot-driven mechanics of cause and effect that, for me, often bring the transcendent experience of watching a movie to a grinding halt. The kinds of films I make give the space for mysterious – at least initially — sequences that don’t simply illustrate why one event or scene leads to another. More like an artist than a traditional documentary maker, I am interested in a kind of meaning that is open to interpretation.  Once a film is complete, I often learn things about it from my audience — how the convergence of two images actually expresses an idea or how a non-diegetic sound expands the meaning of spoken phrase. I hope it’s doing one thing, but I might discover that it’s doing something completely different. In this way, the films are kind of porous and flexible; they are open to interpretation. My essay films, in particular, are full of association. Some are resolved and some are adolescent; they’re still trying to figure out who they are.   Through the making of the film, I learn about myself in the context of learning about the world.   My job is not to educate but rather to spark a curiosity in my viewer that moves from the inside out.   The texts for these films come to me in both public and private spaces:  on a long train ride, during a layover in a strange city, at a café, in a hotel room, on the toilet.

Throughout the 1990s, I gravitated toward the simultaneously visceral and cerebral French feminist theory of Hélène Cixous and Luce Irigaray. As a moving image artist searching for a new discourse that spoke to radical issues with an equally radical form, I embraced this kind of writing as it led me toward the non-narrative, unconventional grammar of experimental film as well as the self-reflexivity of the essay.  My first essay film was “The House of Science: A Museum of False Facts” (1991), a personal rumination on the relationship between a woman’s body and the often-opposing institutions of art and science.  While I was shooting this film, I was also keeping a diary:

“My memory of being a girl includes a “me” that is two. I am two bodies – the body of the body and the body of the mind.  The body of the body was flaccid and forgotten.  This was the body that was wet with dirty liquids, holes that wouldn’t close, full of smells and curdled milk.  Of course there was the skeleton.  This was assumed and only reconsidered upon my very rare attempts at jumping farther than far enough, clearing the ditch, lifting the heave-ho. But the body of the body was not the bones.  This body wrapped and encircled the bones, a protective cover of flesh, just on the other side of the wall I call skin.”

I will never forget a cross-country plane ride I took near the end of editing this film. Throughout the time I was in the air, as I flew across the Mississippi, the Great Plains, and the Rockies, I was searching frantically for the hidden skeletal structure of the film. I’d committed to a premiere at the Los Angeles Film Forum, and I only had a couple of months until my screening date.  (Stupid me. I’ll never do that again!) Midway into the flight, I realized it was all laid out before me in the form of the poetry journal I carried in my backpack.  The writing had been with me all along; I simply hadn’t realized that this text was more than a dispensable traveling partner in the “journey” that was the production of the movie. Over the next few weeks, my poems began to guide my editing of the images and sounds,.  Ever since that early period in my filmmaking career, I’ve kept a handwritten journal during the making of my films. In addition to contributing an often times essential narrative element, this kind of writing can also be the critical link to the “naïve” yet curious person I may no longer really “know,” the person I was when I embarked on the intellectual and artistic adventure that is the creation of a film.

In my 1994 essay film “Which Way is East: Notebooks from Vietnam” (1994), I built a voice-over narration out of two surprisingly oppositional perspectives on post-war Vietnam. My sister Dana Sachs, one of the first American journalists to live for an extended period of time in Vietnam, offered expansive, highly informed insights on Vietnamese daily life.  In contrast, my writing traced my own transformation from earnest, war-obsessed American tourist to more keenly observant traveler:

“Driving through the Mekong Delta, a name that carries so much weight. My mind is full of war, and my eyes are on a scavenger hunt for leftovers. Dana told me that those ponds full of bright green rice seedlings are actually craters, the inverted ghosts of bombed out fields.  At Cu Chi, we pay three U.S. dollars so that a tour guide will lead us through a section of this well-known 200-kilometer tunnel complex. This is the engineering masterpiece of the Viet Cong, a matrix of underground kitchens and living rooms and army headquarters. As I slide through the narrow, dusty passageway, my head fills up with those old war movies Dad took us to in the ’70′s. My body is way too big for these tunnels. I can hardly breathe. After five minutes, I come out gasping.  We decide not to spend the extra ten dollars it costs to shoot a rifle.”

Only by reconnecting to the developing stages of my awareness through my journal could I provide an opening to my American audience.  The narrative trajectory of this half-hour film follows our evolving understanding of the landscape and the people of Vietnam. Honestly, my sister Dana and I fought all the through the shaping of the film’s voice over.  If she hadn’t been my sister, I probably would have fired her as a collaborator!  The fundamental tension between the two of us grew out of several distinct differences between our points of view.  While she had very much completed her own reckoning with the destruction of the war between Vietnam and the United States, I, like most tourists, was still dealing with the war’s echoes and the guilt that came with that psychic burden.  While she wanted to follow the order of events to the letter, I felt free to articulate our experiences by distilling our stories into anecdotes that could function like parables. By recognizing the inherent tension between my position as a non-narrative experimental filmmaker and my sister’s commitment to a more transparent commentary, we were able to find a rhetorical strategy that mirrors the most fundamental conflicts around discourse and truth facing an essayist in any format.   In several quintessentially self-reflexive moments, my sister expresses exasperation with almost every aspect of my production process:

“Lynne can stand for an hour finding the perfect frame for her shot. It’s as if she can understand Vietnam better when she looks at it through the lens of her camera. I hate the camera. The world feels too wide for the lens, and if I try to frame it, I only cut it up.”

In 1997, I completed “Biography of Lilith” (1997), a film exploring the ruptures both women and men must confront when transitioning from being autonomous individuals to parents with responsibilities.  I began making this film when I discovered I was pregnant with my first daughter and by the time I finished three years later I was able to punctuate the final sound mix with the cries of my second child. Inspired by the theoretical texts of Julia Kristeva and Antonin Artaud, in particular, this film celebrates my most intimate and abject concerns about the changes in my body and my place in the world as a woman. My film on Lilith, Adam’s first mate, is also a portrait of a female archetype who boldly wanted to be on top during sex. The film matches a non-authoritative exposition of Lilith in a multiplicity of cultures – both ancient and contemporary – with my own pre and post-partum writing. In this way, I juxtaposed two years of historical and cultural research and interviews with intimate ruminations on my own sexuality and motherhood.

“I’m learning to read all over again. A face, this time, connected to a body.  At first, I feel your story from within.  Nose rubs against belly, elbow prods groin. Your silent cough becomes a confusing dip and bulge.  You speak and I struggle to translate.  I lie on my side, talk to myself, rub my fingers across my skin, from left to right.  I read out loud, and I hope you can hear me.  I’m learning to read all over again, but this time I have a teacher.”

In “States of UnBelonging” (2005), my fourth film in a five-film body of work I call “I Am Not a War Photographer”, I turned to Terence Malick’s “The Thin Red Line” and to the “Hell” section of Jean Luc Godard’s “Notre Musique” for lessons from makers who were capable of articulating the horror of war. I constructed this film around an epistolary friendship I had with an Israeli student who moved back to Tel Aviv during an extremely volatile period in Israel-Palestine.  A meditation on war as well as land, the Bible, and filmmaking, this essay film is built from over three years of emails.  With enormous hesitation and intimidation, we reveal our anguish and bewilderment in the film’s soundtrack as well as on the screen as text. With an awareness of my own position in this charged political landscape, I start the film with a kind of meta-historical lamentation on the way that human beings organize time:

“Do you ever have the feeling that the history you are experiencing has no shape?

Even as a teenager I was obsessed with history’s shifts and ruptures. Wars helped us order time. A war established beginnings and endings. There is “before.” There is “during.” There is “after.”

I am currently working on “Tip of My Tongue”, a film on memory that began with 50 autobiographical poems I wrote about each year from my birth in 1961 to my 50th birthday.  Unlike my previous films, in which the research and shooting themselves prompted the text, this project grew directly from my poetry.   Without the slightest concern for how the poems would eventually shimmy their way into one of my movies, in 2012 I gave myself the unencumbered freedom to write about my own life.  In each poem, I looked at the relationship between a large public event and my own insignificant, yet somehow personally memorable, connection to that situation.  Now, three years later, I am working with a cast of eleven people from almost every continent, each of whom was born around the year 1961. Together we are creating an inverted history of our collective half-century through a series of spoken story distillations that place the grand in the shadow of the intimate.  From glimpsing a drunken Winston Churchill on the streets of London to watching the Moon landing from a playground in Melbourne to washing dishes during the Iranian Revolution to feeling destitute during the Recession, we are working collaboratively to construct our own recipe for a performative sound-image essay film.

Excerpt from Review by Tanya Goldman in Cinema Journal:

“There is often a poetic dialogue extending between sections when a voice of the past rhymes with the present. In 1948, Alexandre Astruc wrote of a cinema that should function as “the seismograph of our hearts, a disorderly pendulum inscribing on film the tense dialectics of our ideas.” This quality is echoed in Lynne Sachs’s 2016 reflections on her own practice through which she feels a stronger sense of kinship with writers, poets, and painters than film directors. She states that her job “is not to educate but rather to spark curiosity in my viewer that moves from the inside out.” Observations such as these bestow the essay film with a distinct emotive quality much at odds with classical documentary’s association with sobriety.”

Tanya Goldman
Cinema Journal, Volume 57, Number 4, Summer 2018, pp. 161-166 (Review)
Published by University of Texas Press
DOI: https://doi.org/10.1353/cj.2018.0064