“…hey operate at different ends of the same recent aesthetic tendency, exploring quantification and its limitations.”
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 […]
We’re incredibly excited to announce the selection of three esteemed jurors for the 58th Ann Arbor Film Festival, scheduled for March 24–29, 2020. The three will attend the six-day festival, viewing more than 120 films in competition and awarding roughly $22,500 in cash and in-kind awards.
Collected posters from the “Experimental Lecture” series presented by NYU’s Film and Television and Cinema Studies departments. Curated by Lynne Sachs with Jonathan Kahana & Dan Streible.
When filmmaker Lynne Sachs turned fifty, she dedicated herself to writing a poem for every year of her life, so far. Each of the fifty poems investigates the relationship between a singular event in Sachs’ life and the swirl of events beyond her domestic universe.
Sachs presents multiple perspectives by liberally jumping backwards and forwards in time, capturing Ira at different ages and points in his life. In doing so, the film doesn’t draw attention to how he changes so much as what stays the same…
Lynne Sachs talks process and inspiration with Rob McLennan.
…But the documentary seems to argue that due to the complexity of familial bonds, only those caught inside should get to define them.
“She, in telling her own stories of milestones both political and personal perfectly captures the way that all of our lives interweave with larger events.”
Sachs, referencing the title of Yvonne Rainer’s landmark feminist feature Film About a Woman Who (1974), practices what Rainer was preaching—and in turn has constructed one of the most powerfully pertinent documentaries of recent years.
