Girl is Presence
During the 2020 global pandemic, filmmaker Lynne Sachs and her daughter Noa collaborated with Anne Lesley Selcer to create Girl is Presence.
May 28, 2020
CURRENT
May 27, 2020
Sarasota Film Festival 2020 – Q&A with Lynne Sachs
Lynne Sachs discusses her feature documentary “Film About a Father Who” with Harris Bender of the Sarasota Film Festival.
May 11, 2020
“Film About a Father Who” Streaming with the 17th Vail Film Festival and Q&A
Virtual screening of “Film About a Father Who” and Q&A with Lynne Sachs available online May 16- 17th!
May 11, 2020
“A Month of Single Frames” to screen online with the 66th Oberhausen Film Festival
Oberhausen announces 2020 film festival program
May 11, 2020
We Are Moving Stories – An Interview with Lynne Sachs on “Film About a Father Who”
“. It is also a film about the complex dynamics that conspire to create a family. There is nothing nuclear about all of us, we are a solar system comprised of nine planets revolving around a single sun, a sun that nourishes, a sun that burns, a sun that each of us knows is good and bad for us.”
May 11, 2020
Tennessee Literary Magazine Features a Poem from “Year by Year”
Chapter 16 – A Community of Tennessee Writers, Readers & Passersby features Lynne Sachs’ poem “2010” from “Year by Year”.
May 5, 2020
Film About a Father Who Streaming at Sarasota Film Festival and Q&A
Catch “Film About a Father Who” online for a limited time at the Sarasota Film Festival (https://sarasotafilmfestival.com/)
May 5, 2020
Lynne Sachs on The Experimental Film Podcast
Dedicated exclusively to experimental film and its makers, The Experimental Film Podcast host Ken Hess interviews Lynne Sachs.
April 14, 2020
“She Observes Herself and Others Learning (Lynne Sachs and Christina Lucas)” and mention in May 2022 Film Diary – Roland Barfs
“…hey operate at different ends of the same recent aesthetic tendency, exploring quantification and its limitations.”
March 31, 2020
My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World by Lynne Sachs
How do we negotiate the photographing of images that contain the body? What experiential, political or aesthetic contingencies do we bring to both the making and viewing of a cinema that contains the human form? If a body is different from our own—in terms of gender, skin color, or age—do we frame it differently? As […]
