CURRENT

February 16, 2011

Alexander Lenard: A Life in Letters by Lynne Sachs in Hungarian Quarterly

For over seventy years, a steady stream of letters was exchanged between Alexander Lenard and members of my family in Memphis, Tennessee. Most of these reflections on everything from stock market prices to family trips, to the legacy of war to the cost of cranberry seeds, were exchanged between Sandor (he was called in the family by his Hungarian first name, without the accent) and my great-uncle William (a.k.a. Bill) Goodman.

January 24, 2011

Lynne Sachs at Wellesley College Collins Cinema Feb. 2, 2010 in Boston

Wellesley College Cinema and Media Studies Program presents “Inventions and Interventions,” the New Film and Media Visiting Artist Series.
Lynne Sachs has invented a unique hybrid cinema between the investigative documentary and the personal poetic film. Her work explores the intricate relationship between personal observations and broader historical experiences Sachs’ films have screened most recently at the Museum of Modern Art and the Sundance Film Festival. On Feb. 2, see two films and a conversation with Sachs, co-sponsored by the Davis Museum and the Art Department.

October 18, 2010

Lynne Sachs at International House in Philadelphia Nov. 12

The driving force of the documentary has been a true desire on the part of its makers to shed light on the very issues that make our global society so complex.

Examples are consistently appearing in this post-modern era that make one rethink what the term “documentary” might mean. However, films still retain the ingredients of tradition: history and images in real time through which each one of us can make that crucial aesthetic decision as to what may be true and what is open for question. Views of a Changing World features new works that demonstrate many of the technological and formalistic changes in the making of today’s documentaries.

September 24, 2010

Three Films by Lynne Sachs at Anthology Film Archives Sept. 24 & 25

Three Films by Lynne Sachs (Friday and Saturday) This review of recent work by one of the leading New York independent filmmakers includes the local premiere of “Wind in Our Hair,” a 41-minute video, made in Argentina with the collaboration of Leandro Listorti and Pablo Marin, that explores the world of four teenage girls, both as they imagine it and as it exists within the restraints of social reality.

September 1, 2010

Opening Doors in the Red Light District: making films in Buenos Aires

We’ve been spying on children in the city for about a century now.
Using our movie cameras, we become omniscient god-like figures who
traipse behind a mischievous boy or a dreamy girl, privy to their
every move, even their thoughts, and, in this way, finding a
deceptively easy access to our own pasts.

September 1, 2010

FILMTHREAT review of THE LAST HAPPY DAY

“The Last Happy Day” is a stunningly beautiful essay film by Lynne Sachs, in which she uses the remarkable story of her distant cousin Sandor Lenard, a Jewish Hungarian doctor who survives two world wars, as a lens for her meditations on trauma, survival, history, and healing.

July 30, 2010

Wind in Our Hair at Walker Art Center in Minneapolis

Inspired by the short stories of Julio Cortázar, Lynne Sachs creates an experimental narrative about a group of girls on the verge of adolescence. While their lives are blissful and full of play, the political and social unrest of contemporary Argentina begins to invade their idyllic existence. Sachs’ brilliant mixture of film formats and the ethereal music of Argentine singer Juana Molina complement the shifts in mood from innocent amusement to protest. 2010, video, in English and Spanish with English subtitles, 41 minutes.