Metamorphosis of the Gaze / Ribalta Experimental Film Festival 2023

Emulsions – “Metamorphosis of the Gaze”
Ribalta Experimental Film Festival
April 30, 2023

“Metamorphosis of the gaze,” the title of Lynne Sachs’ film staff: from debuts to present days, from the decomposition of movement to time, from gesture to circle. Slitings of the gaze that transfigure the newspaper and make it “visual poetry.”

Planning for EMULSIONS on April 30th at Garagos in collaboration with Nassau Bologna thanks to the availability and generosity of Kino Rebelde. At the end of the screenings Q&A with Lynne Sachs via Zoom moderated by Eduoardo Parasporo and Giovanni Sabattini for translation.

Here are the upcoming titles:

  • Drawn and Quartered (4 min, 16mm, color, silent, 1986)
  • Following the Object to Its Logical Beginning (9 min, 16mm, color, 1987)
  • Sound of a Shadow made with Mark Street (10 min, S8mm to digital transfer color, 2011)
  • Drift and Bough (6 min, Super 8mm to digital transfer, B&W, 2014)
  • Maya at 24 (4 min, 16mm, b&w, sound, 2021)

Non è un titolo per niente casuale metamorfosi dello sguardo. Per attraversare un’opera multiforme, ricchissima come quella di Lynne Sachs abbiamo scelto il tema dello sguardo. Come dagli esordi Lynne, nei suoi film, abbia attraversato le soglie del movimento, della “coreografia” (Drawn and Quartered); come, successivamente, riprendendo un gesto originario il reale e la quotidianità nella sua ritualità ed ordinarietà si aprano a sprazzi straordinari e poetici che solo il cinema può donare (Following the Object to Its Logical Beginning, Sound of a Shadow, Drift and Bough) ed infine come abbia fatto delle immagini in movimento una riflessione accorata ed intima sul tempo (Maya at 24). — Giovanni Sabattini


This is by no means a casual title Metamorphosis of the Gaze. To traverse a work as multifaceted, as rich as Lynne Sachs’, we have chosen the theme of the gaze. How from the beginning Lynne, in her films, has crossed the thresholds of movement, of “choreography” (Drawn and Quartered); how, subsequently, by taking up an original gesture the real and the everyday in its rituality and ordinariness open up to extraordinary and poetic flashes that only cinema can bestow (Following the Object to Its Logical Beginning, Sound of a Shadow, Drift and Bough); and finally how she has made moving images a heartfelt and intimate reflection on time (Maya at 24). — Giovanni Sabattini