In this provocative, hybrid documentary, the audience joins a present-day household of immigrants living together in a shift-bed apartment in the heart of Chinatown. Seven characters (ages 58-78) play themselves through autobiographical monologues, verité conversations, and theatrical movement pieces.
New York experimental documentary director Lynne Sachs got her start in film at DCTV in the mid 1980s. Over the last three decades, she’s explored the relationship between her own personal observations and broader historical experiences by weaving together film, collage, painting, and sound design.
New York’s Chinatown, a place as much spectral as real, flickers and flares into life in this singular hybrid of documentary, performance piece and cine-monologue.
How do you return to a sensation of not knowing when you do indeed now know? I am going to try to revisit the days before Hurricane Sandy, to piece together the moments and the sensations we all experienced prior, during and after the storm.
A press kit, transcript, and set of stills are now available for “Your Day is my Night” set to premiere at the Museum of Modern Art in New York City in February 2013.
With women issues at the forefront of recent political and social discourse, we present an evening of videos by working women artists including Catherine Elwes, Marni Kotak, Linda Mary Montano and Lynne Sachs concerning motherhood. The program features original video works and a rare interview with artist Mary Kelly, covering four decades from the setting of 70s feminism, where motherhood was often marginalized, to today’s over-the-top celebration of mommy culture.
Back in 2004, I proposed to my husband Mark Street that I start a Torah study group for our half-Jewish-half-secular-humanist (the only unofficial faith or –ism he would embrace) 9 and 7 year-old daughters Maya and Noa Street-Sachs. He agreed reluctantly and skeptically, convinced that this passing fancy of mine for constructing a homemade form of religious learning would certainly go the way of Pilates or learning to cook.
In San Francisco in the mid-1980s, I saw Chris Marker’s “Sans Soleil”. I witnessed his mode of daring, wandering filmmaking with a camera. Alone, he traveled to Japan, Sweden and West Africa where he pondered revolution, shopping, family, and the gaze in a sweeping but intimate film essay that shook the thinking of more filmmakers than any film I know. Marker’s essay film blended an intense empathy with a global picaresque. Simultaneously playful and engaged, the film presented me with the possibility of merging my interests in cultural theory, politics, history and poetry — all aspects of my life I did not yet know how to bring together – into one artistic expression.
The XY Chromosome Project (Mark Street and Lynne Sachs) presents an
evening of eight single image films of no more than five minutes to be
premiered at the Spectacle Cinema along with the screening of two
classics of the same ilk, both avant-garde and political. Special
guest filmmaker Larry Gottheim will join us for the screening of his 1970
avant- garde tour de force.
The 2009 film by Lynne Sachs is a portrait of a doctor who saw the
worst of society and ran. The Last Happy Day is an experimental
documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical
doctor and a distant cousin of filmmaker Lynne Sachs.