Tag Archives: And Then We Marched

Lynne’s Films Currently Streaming on Criterion, DAFilms, Fandor, & Ovid

Film About a Father Who available on Criterion Channel: https://www.criterionchannel.com/film-about-a-father-who

Available on DAFilms: https://americas.dafilms.com/director/7984-lynne-sachs
Drawn and Quartered
The House of Science: a museum of false facts
Which Way Is East: Notebooks from Vietnam
States of UnBelonging 
Same Stream Twice
Your Day is My Night
And Then We Marched 
Carolee, Barbara & Gunvor
The Washing Society
A Month of Single Frames
Film About a Father Who


Available on Fandor: https://www.fandor.com/category-movie/297/lynne-sachs/
Still Life With Woman and Four Objects
Following the Object to Its Logical Beginning
The Washing Society
The House of Science: a museum of false facts
Investigation of a Flame

Noa, Noa
The Small Ones
Which Way Is East: Notebooks from Vietnam
Atalanta: 32 Years Later
States of UnBelonging 

A Biography of Lilith
The Task of the Translator
Sound of a Shadow

The Last Happy Day
Georgic for a Forgotten Planet
Wind in Our Hair
Drawn and Quartered
Your Day is My Night

Widow Work 
Tornado 
Same Stream Twice


Available on Ovid: https://www.ovid.tv/lynne-sachs
A Biography of Lillith
Investigation of a Flame
The Last Happy Day
Sermons and Sacred Pictures
Starfish Aorta Colossus
States of Unbelonging
Which Way Is East: Notebooks from Vietnam
Your Day is My Night
Tip of My Tongue
And Then We Marched

A Year of Notes and Numbers

“Lynne Sachs: Tender Non-Fictions” on DAFilms with interview by Cíntia Gil

DAFilms
March 2022
https://dafilms.com/program/1153-lynne-sachs-tender-nonfictions?fbclid=IwAR3Oxns5TOSTAZAfZ4T0Jsh6HRgsMNr-Xrfqw3Bc-Pv-q9lCL5UAM7N5snM

Lynne Sachs: Tender Non-Fictions

We are delighted to present a program of films by experimental documentarian Lynne Sachs, who has been prolifically creating works for cinema for four decades. Her non-fiction films, represented here in 11 works of varying lengths, powerfully evokes the curiosity and richness of a life lived through art.

Living in Brooklyn, New York, Sachs is part of a community of active experimental and documentary filmmakers and has long eschewed conventional forms of making movies. Her work, perhaps inevitably, defies easy classification. Instead, it is best understood collectively as a sprawling adventure playground, stretching across continents and blending influences across the borders of distinct art forms. Our focus maps a path through some of the ideas and forms that recur time and again in Sachs’ cinema.

The marks of war that linger in the background of a society—from Vietnam to the Middle East—are an ever-present specter in her long format films, as are the transformative effects of time on members of one’s own family. Feminism in all its forms is an animating subject and drive for Sachs, from the early formal experimentations with bodies and spaces in Drawn and Quartered to the energy of the Women’s March fragment And Then We Marched to the love, artistic kinship, and solidarity between female friends and comrades evident in Carolee, Barbara & Guvnor or, more implicitly, A Month of Single Frames.

Her latest feature length work, Film About a Father Who, whose title hints at Yvonne Rainer, provides a perfect entry-point into her style. This film is not only a torn and disrupted family album, but is also a document of the development of the evolution Sachs’ filmmaking over the years. A feature-length polyphonic portrait of her father, Ira Sachs Sr., taken over many years, it ultimately suggests that the man himself is unknowable, that his mysteries are too vast to be captured by a camera. Through reckoning with this fact, Sachs seems to suggest, the filmmaker is able to unearth other truths, about herself and about her family as a whole. A crucial early work, marking the end of a distinct period in Sachs’ work, The House of Science: A Museum of False Facts, is available to watch for free.




About DAFilms

DOC ALLIANCE – The New Deal for Feature Documentaries

Doc Alliance is the result of a creative partnership of 7 key European documentary film festivals: CPH:DOXDoclisboaMillennium Docs Against GravityDOK LeipzigFIDMarseilleJi.hlava IDFF and Visions du Réel. The aim of the Doc Alliance initiative is to advance the documentary genre, support its diversity and continuously promote quality creative documentary films.

Activities of DOC ALLIANCE:

• Doc Alliance Selection – Since 2008, the Doc Alliance platform presents the Doc Alliance Selection Award. The award goes to the best European documentary film selected independently by each of the platform’s festival members. The individual festivals also nominate the representatives of the jury of experts, recruited among the film critics from the festival countries. Within the Doc Alliance Selection section, each of the Doc Alliance festivals screens at least 3 films nominated for the award in the given year.


• The online portal DAFilms.com is the main project of the Doc Alliance festival network formed by 7 key European documentary film festivals. It represents an international online distribution platform for documentary and experimental films focused on European cinema. For a small fee, it offers over 1900 films accessible across the globe for streaming or legal download. The films are included in the virtual database on the basis of demanding selection criteria. The portal presents regular film programs of diverse character ranging from presentation of archive historical films through world retrospectives of leading world filmmakers to new premiere formats such as the day-and-date release. DAFilms.com invites directors, producers, distributors, and students to submit their films, thus offering them the possibility to make use of this unique distribution channel. For more information, see FILM SUBMISSION.

Sachs Films To Be Featured on Ovid.tv – February 9th, 2022

February 2022 Ovid Newsletter
https://mailchi.mp/03bec52eb11e/february-releases?e=[UNIQID]

OVID in February Includes 32 Films with 10 Exclusive Streaming Premieres

Five French cinema classics, acclaimed Asian cinema, films by Charles Burnett and Shirley Clarke, and much more!

OVID.tv is proud to announce its February slate of thirty-two (32) streaming releases, including ten (10) exclusively streaming on OVID.

OVID’s February slate celebrates Black History Month with eight classic films exploring the Black experience at home and abroad. These include the 1948 documentary STRANGE VICTORY (branded communist propaganda at the time of its release), COME BACK, AFRICA, and Charles Burnett’s memorable slice of life drama MY  BROTHER’S WEDDING.

Just in time for Valentine’s Day, OVID is proud to premiere five classic French films in February. The fun begins with three films by the French filmmaker and screenwriter Marc Allégret: the swooning 1955 melodrama SCHOOL FOR LOVE (starring a young Brigitte Bardot), the 1955 D.H. Lawrence adaptation LADY CHATTERLY’S LOVER, and the delightfully fluffy 1953 farce JULIETTA.

A week later, OVID offers up two seldom-seen films by Jacques Doniol-Valcroze, central figure of the French New Wave, author, actor, and co-founder of Cahiers du Cinéma: the racy 1960 film A GAME FOR SIX LOVERS (featuring music by Serge Gainsbourg) and the 1961 political thriller LA DENONCIATION (THE IMMORAL MOMENT).

Other titles in OVID’s February slate include Shirley Clarke’s Beat classic THE CONNECTION, the delightful Hong Kong genre farce VAMPIRE CLEANUP DEPARTMENT, Ilan Ziv’s eye-opening EXILE, A MYTH UNEARTHED, and five more indelible short films by OVID favorite Lynne Sachs.

Details on all films coming to OVID in February are below.


Wednesday, February 9

And Then We Marched
Directed by Lynne Sachs, Documentary Short, 2017
US
Filmmaker Lynne Sachs shoots Super 8mm film of the first Women’s March in 2017 in Washington, D.C. and intercuts this recent footage with archival material of early 20th Century Suffragists marching for the right to vote, 1960s antiwar activists and 1970s advocates for the Equal Rights Amendment.

A Biography of Lilith
Directed by Lynne Sachs, Documentary Short, 1997
US
In a lively mix of narrative, collage and memoir, A Biography of Lilith updates the creation myth by telling the story of the first woman. Lilith’s betrayal by Adam in Eden and subsequent vow of revenge is recast as a modern tale with a present-day Lilith musing on a life that has included giving up a baby for adoption and working as a bar dancer. Interweaving mystical texts from Jewish folklore with interviews, music and poetry, director Lynne Sachs reclaims this cabalistic parable to frame her own role as mother.

Tip of My Tongue
Directed by Lynne Sachs, Documentary, 2017
US
To celebrate her 50th birthday, filmmaker Lynne Sachs gathers together other people, men and women who have lived through precisely the same years but come from places like Iran or Cuba or Australia or the Lower East Side, not Memphis, Tennessee where Sachs grew up. She invites 12 fellow New Yorkers – born across several continents in the 1960s – to spend a weekend with her making a movie. Together they discuss some of the most salient, strange, and revealing moments of their lives in a brash, self-reflexive examination of the way in which uncontrollable events outside our own domestic universe impact who we are. (Anthology Film Archives Calendar).

A Month of Single Frames (for Barbara Hammer)
Directed by Lynne Sachs, Documentary Short, 2019
US
In 1998, experimental filmmaker Barbara Hammer took part in a one-month residency at a Cape Cod dune shack without running water or electricity, where she shot film, recorded sound and kept a journal. In 2018 she gave all of this material to Lynne Sachs and invited her to make a film with it.

A Year in Notes and Numbers
Directed by Lynne Sachs, Documentary Short, 2017
US
A year’s worth of to-do lists confronts the unavoidable numbers that are part and parcel of an annual visit to the doctor. The quotidian and the corporeal mingle and mix. Family commitments, errands and artistic effusions trade places with the daunting reality of sugar, cholesterol, and bone.

OBSERVE AND SUBVERT: Lynne Sachs interviewed by Inney Prakash for Metrograph

Interview: OBSERVE AND SUBVERT
BY INNEY PRAKASH
December 2021
https://metrograph.com/observe-and-subvert/

An interview with experimental documentary filmmaker Lynne Sachs.

Our Lynne Sachs Series plays at Metrograph December 10–12.

Several of her films are currently available to watch on the Criterion Channel

Whether portraying artists, historical figures, family members, or strangers, filmmaker Lynne Sachs has always found rivetingly indirect methods of representing her subjects. The San Francisco Weekly called her 2001 film Investigation of a Flame, about the Vietnam War and the Catonsville Nine, a group of Catholic activists who burnt draft files in protest, an “anti-documentary.” Sachs herself now uses the phrase “experimental documentary” as shorthand for describing the formal elements that constitute her particularly idiosyncratic and collage-like cinematic vernacular, notable in work like the decades-in-the-making Film About A Father Who (2020).

Rooted in her days in San Francisco’s experimental scene, Sachs’s concerns are deeply material; they regard the matter that makes up the world as inextricable from the technology that reproduces it. Her investigation of New York City laundromats, The Washing Society (2016), co-directed with playwright Lizzie Olesker, struck me as an apt departure point for our wide-ranging discussion about and around this material awareness, as well as the larger concerns that bridge the gap between her films as works of art and Sachs’s  advocacy for worldly change.


I WANT TO START WITH A WEIRD QUESTION. 

I like weird questions.

WHAT ARE YOUR THOUGHTS ON LINT?

I have been thinking about lint so much over the last few years. It started with my thinking about skin, and the epidermis, and about clothing being a second layer of our skin—which means that when we collect lint out of the dryer, we’re also catching aspects of our bodies. Sometimes it’s our own bodies, sometimes it’s the bodies of people we love. Sometimes it’s the bodies of people whose clothes are being washed in a transactional way…Iin that flow, you collect something most people think of as detritus. But I actually think of it as material, in the way that Joseph Beuys was really interested in wax and felt. So, lint is material for sculpture, and for an examination of our bodies. When that comes together, I find it very compelling.

I AM, OF COURSE, REFERRING TO A COUPLE OF SPECIFIC SHOTS FROM THE WASHING SOCIETY, WHICH EMPHASIZE SENSUOUSNESS, WHICH IS NOT A WORD I EVER WOULD’VE PREVIOUSLY USED TO DESCRIBE LINT. 

That attention to the microscopic aspects that are residue of the much larger social relationships around service, hygiene, and the exchange of money for someone who performs something for somebody else—lint represents all those things.

IT MAKES ME THINK OF THE WASHING SOCIETY AS AN EXTENSION OF YOUR CAREER-LONG PREOCCUPATION WITH MATERIAL FILM, EVEN THOUGH IT WAS SHOT DIGITALLY.

When we look at traditional 16mm film, we see scratches and hair, like we see in lint. It’s not that different. Because lint collects through the months or ages, it collects aspects of the world. Film does the same thing; it is changed by its journey in time.

My co-director, Lizzie Olesker, and I wanted to figure out ways to examine the interplay between economics, aesthetics, and politics. You look at the form of cinema and you say, “I want to create ruptures. I want to create a radicalization of the way images are represented.“ But it’s also important to look not just at the way the camera reproduces our reality, but what is produced by the reality that might be dismissed or ignored. … Lint is not invisible, but it’s about as close to invisible as it gets. It moves from clothing to the trashcan in a kind of rote way. By breaking up that [journey], we’re trying to look at the mechanisms of labor.

THE WASHING SOCIETY FEATURES ACTUAL LAUNDRY WORKERS AND ACTORS. WHAT IS IT ABOUT THIS ASPECT OF PERFORMANCE THAT FASCINATES YOU AS A DOCUMENTARIAN?

It occurred to me about a year ago that every single film is a document of a performance. Even a fiction film, which is a bunch of people doing this crazy thing—to reinvent themselves, pretend that they’re different from who they are—we film it, and it’s called a fiction film, but it’s actually a documentary of a group of people together.

What’s started to interest me in the last year is that woven quality that takes seriously that anyone in, for example, a documentary film is performing an aspect of who they are. As soon as they turn their head and they see the camera, they’re performing. And there’s this, you could call it a leash, or an invisible thread [that runs] between my eyes and the eyes of any human being in front of the camera. They’re always looking to the director for some kind of affirmation, like, “Yes, you’re doing a good job.“ It’s the same in documentary. If you actually recognize that this is a form of exchange, then you can try to subvert it. People who are supposed to be ‘real’ become performers, or we have performers who open up about their lives . And so, obscure that rigid differentiation. That’s why I’m not really happy with the term ‘hybrid’ yet. Because it’s saying that this ontological conundrum doesn’t really exist, and that we have to create another category that says, “That’s ambiguously real and that’s ambiguously fiction.“

IN TERMS OF REAL-LIFE SUBJECTS VERSUS HIRED PERFORMERS, HOW DID YOU APPROACH WHO WOULD EXPRESS WHAT IN THE WASHING SOCIETY? THERE ARE TIMES, ESPECIALLY EARLY ON, WHEN IT ISN’T NECESSARILY CLEAR WHO IS WHO. 

With filmmaking, there’s always two answers. There is the production answer: we tried one thing and it didn’t work, so we decided to go another way. And then there’s the more theoretical, maybe conceptual answer.

I WANT BOTH ANSWERS. I’M HUNGRY FOR ANSWERS.

Okay, the conceptual answer first. We wanted to research the experience of what it is to wash the clothes of another person. Particularly in a big city, where people and workplaces can be taken for granted. Lizzie comes out of playwriting, and this notion that you observe the world in which you live, and then you re-create characters who inhabit those experiences you’ve witnessed, or those interactions that confuse you, and that you’re trying to grapple with. And I come out of experimental filmmaking, with documentaries. So you observe and then you subvert.

She asked me if I would help her to investigate laundry workers in New York. We started, and we got really hooked, but most of the people who do this kind of service work in America are also immigrants, and many don’t have the formal paperwork to give them the freedom to be on camera, to talk about the struggles of their workplace or their bosses, who they’re supporting, all those things. So we would have very informal conversations, but we couldn’t record and we couldn’t film.

Our answer was not to give up, but to listen really actively, and then to write the characters, or to write three characters who appear in the film as composites of these conversations. So, there’s Ching Valdes-Aran, Jasmine Holloway, and Veraalba Santa. They’re all performers—the film started as a performance called Every Fold Matters, which we did live in laundromats in Brooklyn and in New York City, and at places like University Settlement, The Tank.

But then, okay, the answer to the conceptual side is that, even though I’ve been making work that you could call reality-based or documentary-based for a long time, I’m always questioning this notion of asking people to open up their lives for me. That’s why I made Film About a Father Who, because I felt like it was my turn to be in that vulnerable position.

One thing I’ve done for years now, I always pay people [who appear] in my films. That’s kind of anathema in documentary. People don’t do that. Especially journalists, which I do understand… But why shouldn’t you pay them the way you would pay an actor?

Often we measure the success of a documentary by how real it is, by the spontaneity of the reveal of information; “I can’t believe you got in that door.“ Or, “I can’t believe you got those people to say that for you with your camera on.“ There’s a lot of registers of success that have to do with the people in front of the camera letting it all hang out, and that’s an awkward exchange… I wanted to have people who felt confident in their place in the world, to speak from that position. If people didn’t feel confident, then we listened, and we tried to embrace their sentiments and struggles in a fictionalized way.

ARE THE ACTORS REPEATING TEXT THAT WAS SPOKEN BY ACTUAL LAUNDRY WORKERS OR WAS THAT TEXT WRITTEN BY YOU AND LIZZIE?

It’s both. We used parts of it, but often we wrote in a more free-form way. It’s really a composite, and there’s a freedom that comes from making a film like this. .. I call it the Maggie Nelson effect, [which is] this idea where you lay bare the research. In The Argonauts, she tells this personal story about her relationship, and she has these fantastic tangents, which are about her research, what she happened to be reading, letting all of that come in.

I can [also] say that we were influenced by Yvonne Rainer. She was such a visionary when it came to choreography, and a celebration of the body through dance. Because she looked at the quotidian, and she ‘deconstructed’— in the word of that period— how we move through the world. We took that approach to how we thought about the dance movements in The Washing Society, how we could re-examine the gestures of the everyday, and think about how they might be beautiful, in the way that Roberta Cantow’s film Clotheslines celebrates the beauty of laundry work. [Lizzie and I] wanted to think about recognising washing as a form of physical dance. Especially because there’s so much repetition, which dance also uses.

CLOTHESLINES HAPPENS TO BE PLAYING ALONGSIDE THE WASHING SOCIETY.

Clotheslines is fantastic. It’s giving attention, again, to urban life, and to things that people do that maybe they feel ashamed of doing but that they have to do. It’s interesting to look at Roberta Cantow’s film, because it’s a twist on the whole idea of being a feminist. Barbara Hammer did something similar; I think the term ‘feminist’ is evolving all the time.

What Roberta Cantow did in her work, I think, is say, “Let’s acknowledge the beauty of what mostly women do. But it doesn’t mean that they’ll become stronger women than when they don’t do it.” … I should add that today I had a conversation with Roberta Cantow. A woman she knew who organizes washerwomen in New York City told her about the screening. Anyway, she told me today that this whole group of organizers around washerwomen, 10 of them, are coming to Metrograph.

THAT’S EXTRAORDINARY.

Yeah. And I’m hoping [for] a group from the Laundry Workers Center, which is a union I’ve done a lot of work with, who organize workers in the small laundromats all over New York City…  If they’re trying to shut down a laundromat or bring attention to conditions that are really, really bad—where people are required to work 12 hours, and they can’t look at their phones, or all the different rules that are had—[Lizzie and I] make videos for them sometimes.

DO YOU CONSIDER FILMMAKING AS A FORM OF ACTIVISM, OR ADJACENT TO IT? WHERE DO THE TWO INTERSECT?

I was thinking about this last night. I went to an event at E-flux, and I was listening to Eric Baudelaire, the filmmaker, talking about this too…. I don’t think I’ve ever made a film that had the ability to make someone act differently, or to push them in a direction. But I always hope it makes them think about who they are differently, or about how the world works in another way. Maybe the result of that would be an action. But if it’s just a thought, that’s pretty good too. I guess it has to do with results, how you measure your reach… I get very excited, like with Investigation of a Flame, by people doing things with passion, and pushing themselves to extremes from which they can never turn back. I mean, that actually goes to Barbara Hammer. [She] lived life to its fullest, and with so much conviction.

BEING IN DIALOGUE WITH OTHER ARTISTS, FILMMAKERS, OTHER PEOPLE, SEEMS SO ESSENTIAL TO ALL OF YOUR WORK.

Well, when I made Which Way Is East (1994), I didn’t at first understand that it really is about how we look at history, and how we analyze or reconstruct the past. That film is made from the perspective of myself and my sister. We were children who experienced the Vietnam War through television, mostly black-and-white images on a box in the living room. Being typical American, middle-class kids, our parents and their friends had not gone to war. The war was really far away… But you then grow up and you realize that it does touch you; you heard all the numbers of people who died, and you recognize that those statistics were always emphasizing the Americans, but what about the Vietnamese? How does war have an impact?

When we made the film, in the early ’90s, my sister, Dana Sachs, was living in Vietnam. I visited for one month, and, like a typical documentary filmmaker, you arrive in a place and you say, “I’m going to make a film.“ It came to me later that the film is a dialogue with history, but it’s also a dialogue between two women from the same family, who thought about that past in extremely different ways. She looked at Vietnam in this contemporary way, as survivors. Whereas I looked at Vietnam with this wrought guilt, trying to piece together an understanding of a war that still seemed to bleed. That’s what gave the film its tension, that our perceptions were so different. Ultimately the most interesting films are the ones that ask us to think about perception, that don’t just introduce new material.

So that was a gift, to be in dialogue with my sister… Another way of looking at dialogue, [if] you’re in dialogue with [someone like] Jean Vigo, who’s not alive… then you’re creating a dialectic between the materials. In A Month of Single Frames, I’m in dialogue with Barbara Hammer literally, but I’m also in dialogue with her through the form of the film, and with the audience. That was intentional, to have this ambiguity.

In A Month of Single Frames, she also does something that’s not about activism, it’s about solitude… thinking about her place in nature. It’s all about being delicately and boldly in the landscape. When she cuts up little pieces of gel and puts them on blades of grass, she’s doing the opposite of what a feature film made in Cape Cod would… You’d have all these people stomping on the dunes, getting permission to shoot, to take over a whole house, you’d need light, electricity… She wanted to do everything with the least impact. It’s not a film that she probably announced as a celebration of the environment. But to me, it is so much about not leaving your footprint on the land, but being there. I really admire that work.

DID YOU BEGIN THE FILM BEFORE SHE DIED?

The last year of Barbara Hammer’s life, she gave footage to filmmakers and said, “Do whatever you want, and in the process use this material that I love but could not finish. Because I can see that my life will not last long enough to do so.“

She gave me footage from 1998, which she had shot in a residency on Cape Cod. I asked her why she didn’t finish this film and she said, “Because it’s too pretty, and because it’s not engaged, it’s not political.“ She felt that the fact that it delivered so much pleasure just in its loveliness made it problematic. It was this gorgeous landscape, and a woman alone in a cabin. She thought there wasn’t a rigor to it. So she had never done anything with it; it just moved around with her, and it was bothering her, of course: “Finish me. Finish me.“

She gave it to me, and I started to edit. On the second visit, I showed it to her, just without any sound. I asked if she did any writing while she was there, and she said, “I kept a journal.“ She’d forgotten all about it, so she pulled it out.

THAT’S THE DIALOGUE WE HEAR IN THE FILM?

She even writes about herself in the third person, which is fun, and different…

Everything was so pressured: she had to go to chemotherapy, she was trying to finish Evidentiary Bodies, a film that she was going to show at the Berlin Film Festival in 2019. It was one of the last things she did. So I had the material, and when she died… I needed to finish it. That’s when I wrote the text, because I needed to be in dialogue with her more than just editing the material. I needed to concentrate on that energy between us.

SO YOU COMPLETED A FILM YOU HAD BEGUN WORKING ON WHILE SHE WAS LIVING, AND THAT SHE DIED DURING THE MAKING OF. AND THEN YOU MADE A FILM IN DIALOGUE WITH SOMEONE WHO HAD ALREADY DIED, IN E•PIS•TO•LAR•Y: LETTER TO JEAN VIGO.

I’ll give you a little background. I’ve been on and off involved with the Punto de Vista Film Festival, which is a really interesting small festival in Pamplona, Spain, where they acknowledge and appreciate alternative ways of looking at documentary film practice. They asked 10 filmmakers to make a film in the form of a letter to a filmmaker who had influenced us.

I chose Jean Vigo; I love his film, Zero for Conduct (1933), because it is so much about rule breaking. It is so much about trying to exist in society, but knowing when there is a time to break the law. I had made my film Investigation of a Flame; I was interested in those moments where you have to turn inward and say, “This is wrong.“ And I wanted, again, to talk to a ghost. To talk to Jean Vigo.

Then, right at the beginning of this year, there was the attack on the US Capitol. A group of thousands chose to break the law, with absolute abandon in terms of the sacredness of other people’s bodies. I’m not even saying the US Capitol is sacred. But to go to a place of heinous destruction, that really disturbed me. I was already thinking about Jean Vigo, and I thought, “This is really complicated.” Because at what point do we learn to understand how to respect, how to have compassion, how to have empathy? That you can break rules, as in paint graffiti or burn draft files, but that once you start invading another person’s body— it’s a violation I couldn’t accept. And this space between anarchy and authoritarianism, and between compassionate rule breaking and violence was very interesting to me.

WHAT ABOUT REVOLUTION? WHAT ABOUT A FEMINIST SOCIALIST REVOLUTION?

Oh. Well I have to say, a feminist socialist revolution probably would come with a lot of compassion. I think, I hope. But I would never say that women… I don’t think that there’s anything innate.

One other thing about E•pis•to•lar•y: I really like all the syllables in epistolary, so I like that it sounds like bullets. And yet it’s about dialogue… It may be silent, but audiences are writing back in their heads. I think a lot about that in my filmmaking, all the sounds that go on in audiences’ minds.

ARE THE SUBJECTS OF INVESTIGATION OF A FLAME (2001)THE CATONSVILLE NINEYOUR MODELS THEN OF RIGHTEOUS DISSIDENTS?

My interest in people who break the rules goes way back. I mean, I was protesting the implementation of imposing draft registration on American men when I was in high school. I’ve always been committed to trying to articulate a critique. But when I heard about the Catonsville Nine and this group of people who had nothing to gain by criticizing the US government’s presence in Vietnam, except that they were so upset that they felt they had to speak out against it…

They were Catholic antiwar activists: two priests in particular, Daniel and Philip Berrigan, and a nurse, and a sister, and others. But they broke the law in the most performative way. To take draft papers and burn them [with] napalm…. Napalm is not that different from lint. It’s just soap mixed with chemicals. You can make napalm at home. It’s domestically produced napalm, which was being used in Vietnam. But [the Catonsville Nine] wanted to make it and burn it symbolically. This, to me, was the ultimate art performance piece. Let’s burn files, photograph it, disseminate it, and say that these files represent bodies.

People said that they changed so much thinking. It was effective because it was an image that… You were asking about activism, that’s an image! To see priests burning draft files, that’s going to change things. That’s real activism on their part, and that happened in the 1960s.

FROM LINT TO NAPALM. THANK YOU, LYNNE.

I never thought… But it’s made with soap!

Inney Prakash is a writer and film curator based in New York City and the founder/director of Prismatic Ground.

Lynne Sachs Series at Metrograph (NYC) – Decemeber 10 – 12th

December 10 to December 12, 2021
https://nyc.metrograph.com/series/series/291/lynne-sachs

Since bursting onto the filmmaking scene in the 1980s, Memphis-born Lynne Sachs has compiled an inimitable, astonishing body of work which includes essay films, diaristic shorts, gallery installations, and quite a number of simply uncategorizable hybrids. Sachs’s wide-ranging, restless ingenuity is on full display in this program, which includes her 2020 documentary portrait A Film About a Father WhoThe Washing Society, her collaboration with playwright Lizzie Olesker, which premiered in 2015 at a Clinton Hill laundromat; and this year’s E•pis•to•lar•y: Letter to Jean Vigo, a ruminative, surprising response to the January 6th Capitol Hill riots. A blast of engaging, and engaged, cinema.

Sachs will be present for all three programs.


A FILM ABOUT A FATHER WHO
https://nyc.metrograph.com/film/film/2769/a-film-about-a-father-who
Friday, December 10th @ 7:15 PM
2020 / 74min / DCP
DIRECTOR: LYNNE SACHS

Made up of footage shot by Sachs between 1984 and very nearly the present day, Film About a Father Who represents her endeavor to better understand the outsized personality and myriad affairs of one Ira Sachs, Sr.: Park City, Utah, hospitality industry mogul; bon vivant hippie businessman; serial womanizer; and the filmmaker’s father. Analog and digital video shares space with 8 and 16mm film in Sachs’ decoupage of home movie formats, creating a tenderly critical mosaic portrait that’s as energetic, multifaceted, and messy as its subject.


WASHING SOCIETY + CLOTHESLINES +A MONTH OF SINGLE
https://nyc.metrograph.com/film/film/2782/washing-society-clothesline
Saturday, December 11th @ 3:45 PM
2018 and 1981 / 90min / DCP
DIRECTOR: LYNNE SACHS, LIZZIE OLESKER, AND ROBERTA CANTOW

Sachs’s The Washing Society, co-directed with playwright Lizzie Olesker, uses a combination of interviews, re-enactments, and patient observation to pay lyric homage to the little-acknowledged but essential labor of dealing with dirty laundry, as it occurs every day in New York City’s laundromats. Screening with Roberta Cantow’s feminist forebear Clotheslines, a film that takes laundry seriously as a form of folk art, a fraught social signifier, and a lens for women to reflect on the joys, pains, and ambivalences of household chores. With Sachs’s short “A Month of Single Frames” made with and for Barbara Hammer.

Co-Directors Lynne Sachs and Lizzie Olesker will be present with special guest feminist scholar Silvia Federici for a post-screening conversation. Hosted by Emily Apter.


Post-Screening Conversation for
WASHING SOCIETY + CLOTHESLINES +A MONTH OF SINGLE

Co-Directors Lynne Sachs and Lizzie Olesker with special guest feminist scholar Silvia Federici in a post-screening conversation. Hosted by Emily Apter.


LYNNE SACHS SHORTS
https://nyc.metrograph.com/film/film/2773/lynne-sachs-shorts
Sunday, December 12th @ 4:30 PM
1994, 2017, 2021, 2001 / 100min / DCP
DIRECTOR: LYNNE SACHS

Four shorts exemplifying the breadth and tireless curiosity of Sachs’s film practice, as well as an ongoing engagement with issues of justice and resistance. The Ho Chi Minh City–Hanoi travel diary Which Way is East: Notebooks from Vietnam offers an encounter between lived experience and mediated memory of a televised war. And Then We Marched juxtaposes 8mm footage of the 2017 Women’s March in Washington D.C. with archival images of earlier struggles for justice. E•pis•to•lar•y: Letter to Jean Vigo looks at the January 6th Capitol Hill uprising through the unlikely but revealing prism of Vigo’s 1933 Zéro de conduite. Investigation of a Flame revisits the story of the Catonsville Nine, Catholic activists who burnt draft files in protest of the Vietnam War.

Director Lynne Sachs will be present.

Northwest Film Forum to Present Lynne Sachs Retrospective

Lynne Sachs Retrospective: Between Thought and Expression [Online]
May 14-31, 2021
https://nwfilmforum.org/films/lynne-sachs-retrospective-between-thought-and-expression-online/

Lynne Sachs • US • 2001-2021

About
“For more than thirty years, artist Lynne Sachs has constructed short, bold mid-length, and feature films incorporating elements of the essay film, collage, performance, and observational documentary. Her highly self-reflexive films have variously explored the relations between the body, camera, and the materiality of film itself; histories of personal, social, and political trauma; marginalized communities and their labor; and her own family life, slipping seamlessly between modes, from documentary essays to diaristic shorts.” (Edo Choi, Assistant Curator of Film, Museum of the Moving Image)

The following three programs are from Lynne Sachs: Between Thought and Expression, the Museum of the Moving Image’s retrospective series of five programs of her films.


Films in this series:

Your Day Is My Night
(Lynne Sachs, US, 2013, 64 min)
This bed doesn’t necessarily belong to any one person,” someone says early in Your Day Is My Night. It could be the metaphorical thesis of this film, perhaps Lynne Sachs’s most self-effacing and meditative work. A seamless blend of closely observed verité footage, interpretive performance, and confessional monologues and interviews, the film doesn’t document so much as create a space to accommodate the stories and experiences of seven Chinese immigrants from ages 58 to 78 who live together in a “shift-bed” apartment in Manhattan’s Chinatown. Sachs’s quilted sense of form achieves a new level of refinement and delicacy in collaboration with her cameraman Sean Hanley and her editor Amanda Katz, as she works with the participants to exhume a collective history of migration and struggle.


Tip of My Tongue
(Lynne Sachs, US, 2017, 80 min)
Sachs’s richly generative Tip of My Tongue finds the filmmaker responding to her 50th birthday by gathering twelve members of her generational cohort—friends and peers all born between 1958 and 1964, and originating as far as Cuba, Iran, and Australia—to participate in the creation of a choral work about the convergent and divergent effects history leaves upon those who live it. From the Kennedy assassination to Occupy Wall Street, the participants reveal their memories of, and reflections upon, the transformative experiences of their lives. Set to an ecstatic, pulsing score by Stephen Vitiello, the film interweaves these personal confessions with impressionistic images of contemporary New York, obscured glimpses of archival footage, and graphically rendered fragments of text to create a radiant prism of collective memory.


Short film program: Time Passes
(Lynne Sachs, US, 2001-2017, 51 min TRT)
Twenty years unspool over nine short films: portraits of Lynne Sachs’s children; visits with her mother, brother, niece and nephew; a tribute to the city where she lives; and scenes of sociopolitical trauma and protest. Nearly all shot on super 8mm or 16mm, and often silent, each work is at once a preservation of a moment and a record of change, seamlessly weaving together the candid and the performed gesture, the public and the private memory, in a simultaneously objective and subjective posture toward the passing of time.

  • Photograph of Wind (2001, 4 min)
  • Tornado (2002, 4 min)
  • Noa, Noa (2006, 8 min)
  • Georgic for a Forgotten Planet (2008, 11 min)
  • Same Stream Twice (2012, 4 min)
  • Viva and Felix Growing Up (2015, 10 min)
  • Day Residue (2016, 3 min)
  • And Then We Marched (2017, 3 min)
  • Maya at 24 (2021, 4 min)

About Lynne Sachs
Lynne Sachs is a filmmaker and poet who grew up in Memphis, Tennessee and is currently living in Brooklyn, New York. Her moving image work ranges from short experimental films to essay films to hybrid live performances. Lynne discovered her love of filmmaking while living in San Francisco where she worked closely with artists Craig Baldwin, Bruce Conner, Ernie Gehr, Barbara Hammer, Gunvor Nelson, and Trinh T. Minh-ha.

Between 1994 and 2006, she produced five essay films that took her to Vietnam, Bosnia, Israel, Italy and Germany – sites affected by international war – where she looked at the space between a community’s collective memory and her own subjective perceptions. Looking at the world from a feminist lens, she expresses intimacy by the way she uses her camera. Objects, places, reflections, faces, hands, all come so close to us in her films. Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with every new project. With the making of Your Day is My Night (2013), Every Fold Matters (2015), and The Washing Society (2018), Lynne expanded her practice to include live performance.

As of 2020, Lynne has made 37 films. The Buenos Aires International Festival of Independent Cinema, Festival International Nuevo Cine in Havana, China Women’s Film Festival, and Sheffield Doc/ Fest have all presented retrospectives of her films. Lynne received a 2014 Guggenheim Fellowship in the Creative Arts.


About Edo Choi
Edo Choi is Assistant Curator of Film at the Museum of the Moving Image. Previously, he served in the dual capacity of programming manager and chief projectionist for the Maysles Documentary Center in Harlem. He has organized programs as an independent curator for the New York Public Library and the Documentary Film Group, film society at the University of Chicago, where he held the position of Programming Chair between 2008 and 2010. He also works as a freelance projectionist at venues around New York City.

Prismatic Ground Hosts Two Programs of Films by Lynne Sachs


Lynne Sachs in Conversation with Brett Kashmere (Canyon Cinema) – Ground Glass Award Presentation


Hosted April 8-18 , 2021
Here: https://www.prismaticground.com/

Prismatic Ground is a new film festival centered on experimental documentary. The inaugural edition of the festival, founded by Inney Prakash, will be hosted virtually in partnership with Maysles Documentary Center and Screen Slate. Catch the ‘Opening Night,’ ‘Centerpiece,’ and ‘Closing Night’ events live via Screen Slate’s Twitch channel. The rest of the films, split into four loosely themed sections or ‘waves’, will be available for the festival’s duration at prismaticground.com and through maysles.org. On April 10, at 4PM ET, Prismatic Ground will present the inaugural Ground Glass Award for outstanding contribution in the field of experimental media to Lynne Sachs. Other live engagements TBA.


MUBI and Prismatic Ground Film Festival

Questions from Mubi Notebook interview for the article Experimenting and Expanding at Prismatic Ground

1. How did Prismatic Ground get on your radar, and what drew you to the festival?

I met Prismatic Ground Film Festival director Inney Prakash about a year ago when I was teaching my very first virtual film and poetry workshop at the Maysles Documentary Center in Harlem where Inney works as a programmer.  Of course, the workshop was supposed to be a face-to-face experience, but it was May of 2020 and there was no way that was going to happen!  We were living in the beginning of a global pandemic!  Inney was a critical part of our pivot to an online experience that could nourish participants from anywhere in the world.  To our surprise, it worked extraordinarily well and 17 participants from the US, Ireland and Uruguay collaborated on making a series of fantastic video poems.  From that point on, I have a feeling that Inney started to think that anything was possible in terms of making and viewing non-commercial, experimental documentaries. A few months later, he wrote to me to ask me if I would accept the first ever Ground Glass Award from his new founded Prismatic Ground Film Festival. I love the name of the award and thoroughly understand the meaning of the term “ground glass” since I have been making 16mm films since the mid 1980s!  By the way, “ground glass” is the frosted glass surface in a film camera that allows the light projected from the lens to bounce off of a mirror and then be recorded as an image on the film surface.

2. What has your experience been with virtual premieres and screenings? And how has Prismatic Ground been different, if at all?

I had four films circulating in 2020 and 2021, “A Month of Single Frames” (14 min) and “Film About a Father Who” (74 min.), “Girl is Presence” (4 min.), and “Epistolary: Letter to Jean Vigo” (5 min.), plus career retrospectives at the Museum of the Moving Image in New York City and at the Sheffield Doc/ Fest in the UK. I was also on the jury for the Ann Arbor Film Festival and the FestCurtas Belo Horizante Film Festival in Brazil. It’s been a daunting but exciting year. Everything was virtual, but somehow it worked. I loved these experiences and felt that they successfully brought filmmakers from all over the world together. The “in real life” experience can often be quite elitist just because air travel and hotel accommodations are so extraordinarily expensive.

     Prismatic Ground embraced an entirely new, unbelievably adventurous yet compassionate approach to the viewing of experimentally driven cinema, beyond anything I have never seen in my life.  Inney presented such an astonishing array of FREE work, never privileging a feature film over a shorter work, or a more accessible film over a more challenging one.  His Q and A’s were informed, respectful and inviting. 

     I also want to say something about the festival website design and graphics which subtly forced all of us as audience to watch the films with focus and commitment.  You could not scroll through a film or go backward or forward. While you were allowed to pause, you could not be a dilettante and hop around from one film to another without losing your place in a movie.  This created the closest experience to the one we have in a theater that I have ever witnessed online. In addition, the aesthetics of the website allowed Inney to frame each film on a page in relationship to others in the same “wave” which meant that you were always aware of his curating and the intricate relationships and themes he wanted you to recognize between the films.

3. Do you have a dream vision for a post-COVID festival ecosystem? Can be as broad as “more digital screenings,” or as specific as “curated specifically for underseen/experimental artists,” anything at all.

I think that the virtual is here to stay, but I also am praying for a return to being in a space with other people, with all the breaths, whispers, laughs, weeping, and shuffling of our bodies. We must accept that the virtual is vital. It allows homebound, less affluent audiences to access work outside mainstream, commercially driven movie culture. It can also put less emphasis on box office revenue which means experimental, underground, alternative cinema can travel on the magic carpet of the internet.  I have noticed that more and more people throughout the world are becoming interested in the history of avant-garde film.  They are discovering the work of artists like Jonas Mekas, Chick Strand, William Greaves, Carolee Schneemann Fernando Solanas and others, not just in museums or in classrooms, but at home. This is a revolution of the mind, the eye and the ear!

4. How has the last year of relative isolation influenced your work, if at all?

Despite the annus horribilis of 2020 (and beyond), I have actually met really interesting, dynamic, risk-taking people in the filmmaking community, all through the virtual portal of Zoom. For example, I was incredibly sad not to be able to attend the retrospective of my work at the Sheffield Doc/ Fest and at Prismatic Ground, but I was still able to meet Trinidadian essay filmmaker Che Applewhaite through our shared screenings at both festivals. Over the last few months, we have corresponded a great deal and recently even managed to meet in person here in NYC.

      As I mentioned, I was on the jury for the 2020 Ann Arbor Film Festival and the Belo Horizante International Short Film Festival in Brazil. While I was not able to talk, face-to-face, or hang out in local bars with my fellow jury members after the screenings, we did develop quite profound relationships that allowed us to share our aesthetic passions and our personal pandemic struggles.

     As an artist, I was able to make several short films that reflected my thinking during these troubling times. One of my most lasting discoveries has been that you can actually make collaborative work with artists from anywhere on the globe, and that this interactive experience can be revelatory.  Never in my wildest dreams did I think this could be possible. Over the course of the last year, I found creative and intellectual comrades with whom I could work on such a surprising and generative level.  Who knew?

Lynne Sachs

Lynne Sachs Awarded “Ground Glass Award” at Prismatic Ground

Prismatic Ground 
March 2021
Screen Slate 
https://www.screenslate.com/articles/prismatic-ground

Hosted April 8-18 
Here: https://www.prismaticground.com/

Prismatic Ground is a new film festival centered on experimental documentary. The inaugural edition of the festival, founded by Inney Prakash, will be hosted virtually in partnership with Maysles Documentary Center and Screen Slate. Catch the ‘Opening Night,’ ‘Centerpiece,’ and ‘Closing Night’ events live via Screen Slate’s Twitch channel. The rest of the films, split into four loosely themed sections or ‘waves’, will be available for the festival’s duration at prismaticground.com and through maysles.org. On April 10, at 4PM ET, Prismatic Ground will present the inaugural Ground Glass Award for outstanding contribution in the field of experimental media to Lynne Sachs. Other live engagements TBA.

Logo: Kelsey Kaptur


Opening Night: Thursday, April 8th at 8PM ET on twitch.tv/screenslate

The Films of Anita Thacher
Co-presented by Microscope Gallery. Film critic Amy Taubin in conversation.


Centerpiece: Thursday, April 15th at 8PM ET on twitch.tv/screenslate

Newsreels of the Distant Now, a special presentation by Creative Agitation (Erin and Travis Wilkerson)
Filmmakers in conversation.


Closing Night: Sunday, April 18th at 8PM ET on twitch.tv/screenslate

Second Star to the Right and Straight on ‘Til Morning (dir. Bill and Turner Ross) + Dadli (dir. Shabier Kirchner, 2018, 14 min.)
Filmmakers in conversation.

Streaming through the festival’s duration at prismaticground.com and through maysles.org:

Ground Glass Award
Prismatic Ground will present the inaugural Ground Glass award for outstanding contribution in the field of experimental media to filmmaker Lynne Sachs on April 10, 2021 at 4PM ET. A selection of Sachs’ work curated by Craig Baldwin will be available for the festival’s duration, courtesy of Baldwin, Sachs, and Canyon Cinema:

Still Life with Woman and Four Objects (4 min., 1986)
Sermons and Sacred Pictures (29 min., 1989)
The House of Science: a museum of false facts (30 min., 1991)
Which Way Is East: Notebooks from Vietnam (made with Dana Sachs) (33 min., 1994)
A Month of Single Frames (for Barbara Hammer) (14 min., 2019)
Investigation of a Flame (45 min., 2001)
And Then We Marched (4 min., 2017)
The Washing Society (co-directed with Lizzie Olesker) (44 min., 2018)


Drawn & Quartered will also be streaming in the program- wave 4: through the flowering fields of the sea

Home in the Woods (dir. Brandon Wilson, 2020, 96 min.)
Bodes In Dissent (dir. Ufuoma Essi, 2021, 6 min.)
Make Sure the Sea Is Still There (dir. Gloria Chung, 2021, 8 min.)
The Aquarium (dir. Paweł Wojtasik, 2006, 22 min.)
hold — fuel — when — burning (dir. dd. chu, 2020, 11 min.)
Depths (dir. Ryan Marino, 2020, 5 min.)
Look Then Below (dir. Ben Rivers, 2019, 22 min.)
Drawn & Quartered (dir. Lynne Sachs, 1986, 4 min.)
End of the Season (dir. Jason Evans, 2020, 13 min.)
Learning About Flowers and Their Seeds (dir. Emily Apter and Annie Horner, 2021, 4 min.)
A Slight Wrinkle in the Strata (dir. Ryan Clancy, 2021, 30 min.)
Back Yard (dir. Arlin Golden, 2020, 7 min.)
In Our Nature (dir. Sara Leavitt, 2019, 3 min.)
By Way of Canarsie (dir. Lesley Steele and Emily Packer, 2019, 14 min.)


About Prismatic Ground
Prismatic Ground is a New York festival centered on experimental documentary. Hosted by Maysles Documentary Center and online NYC film resource Screen Slate, the festival will be primarily virtual for its first year barring a timely end to the ongoing COVID-19 pandemic.

We seek work that pushes the formal boundaries of non-fiction in the spirit and tradition of experimental filmmaking. This “spirit” is somewhat amorphous, undefinable, and open to interpretation, but refers to work that engages with its own materiality, and that privileges a heightened artistic experience over clear meaning.

For a better sense of what we’re looking for, here are some filmmakers that inspire us: Chris Marker, Lynne Sachs, Kevin Jerome Everson, The Otolith Group, Black Audio Film Collective, Pat O’Neill, Cecilia Condit, Edward Owens, Chick Strand, Barbara Hammer, Khalik Allah, Michael Snow, Janie Geiser, Isaac Julien, Trinh T. Minh-ha, Sky Hopinka, Fern Silva, Akosua Adoma Owusu…

Kino Rebelde to Represent Lynne Sachs’ Catalogue Internationally

http://www.kinorebelde.com/lynne-sachs-complete-filmography/

Kino Rebelde has created a retrospective that traces a delicate line connecting intimacy, power relations, violence, memory, migration, desire, love, and war in Lynne’s films. By looking at each of these works, we can see a director facing her own fears and contradictions, as well as her sense of friendship and motherhood.  Moving from idea to emotion and back again, our retrospective takes us on a journey through Sachs’ life as a filmmaker, beginning in 1986 and moving all the way to the present.

With the intention of allowing her work to cross boundaries, to interpret and to inquire into her distinctive mode of engaging with the camera as an apparatus for expression, we are delighted to present 37 films that comprise the complete filmmography, so far, of Lynne Sachs as visual artist and filmmaker. Regardless of the passage of time, these works continue to be extremely contemporary, coherent and radical in their artistic conception.


About Kino Rebelde

Kino Rebelde is a Sales and Festival Distribution Agency created by María Vera in early 2017. Its exclusively dedicated to promotion of non-fiction cinema, hybrid narratives and experimental.

Based on the creative distribution of few titles by year, Kino Rebelde established itself as a “boutique agency”, working on a specialized strategy for each film, within its own characteristics, market potential, niches and formal and alternative windows.

This company supports short, medium and long feature films, from any country, with linear or non-linear narratives. They can be in development or WIP, preferably in the editing stage.

The focus: author point of view, pulse of stories, chaos, risk, more questions, less answers, aesthetic and politic transgression, empathy, identities, desires and memory.

Kino Rebelde was born in Madrid, but as its films, this is a nomadic project. In the last years María has been living in Lisbon, Belgrade and Hanoi and she’ll keep moving around.

About María Vera

Festival Distributor and Sales Agent born in Argentina. Founder of Kino Rebelde, a company focused on creative distribution of non-fiction, experimental and hybrid narratives.

Her films have been selected and awarded in festivals as Berlinale, IFFR Rotterdam, IDFA, Visions Du Réel, New York FF, Hot Docs, Jeonju IFF, Sheffield Doc/Fest, Sarajevo FF, Doclisboa and Viennale, among others.

María has a background as producer of socio-political and human rights contents as well as a film curator.Envelope

vera@kinorebelde.com


Lynne Sachs (1961) is an American filmmaker and poet living in Brooklyn, New York. Her moving image work ranges from documentaries, to essay films, to experimental shorts, to hybrid live performances.

Working from a feminist perspective, Lynne weaves together social criticism with personal subjectivity. Her films embrace a radical use of archives, performance and intricate sound work. Between 2013 and 2020, she collaborated with renowned musician and sound artist Stephen Vitiello on five films.

Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in each new project.

Between 1994 and 2009, Lynne directed five essay films that took her to Vietnam, Bosnia, Israel, Italy and Germany – sites affected by international war – where she looked at the space between a community’s collective memory and her own perception. 

Over the course of her career, she has worked closely with film artists Craig Baldwin, Bruce Conner, Ernie Gehr, Barbara Hammer, Chris Marker, Gunvor Nelson, and Trinh T. Min-ha.

Retrospective – “Lynne Sachs: Between Thought and Expression” curated by Edo Choi, Asst. Curator, Museum of the Moving Image

https://canyoncinema.com/2021/02/17/lynne-sachs-between-thought-and-expression-five-program-retrospective-now-available-for-rent/

“For more than thirty years, artist Lynne Sachs has constructed short, bold mid-length, and feature films incorporating elements of the essay film, collage, performance, and observational documentary. Her highly self-reflexive films have variously explored the relations between the body, camera, and the materiality of film itself; histories of personal, social, and political trauma; marginalized communities and their labor; and her own family life, slipping seamlessly between modes, from documentary essays to diaristic shorts.” (Edo Choi, Assistant Curator of Film, Museum of the Moving Image)

This five-part retrospective offers a career-ranging survey of Sachs’s work and includes new HD transfers of Still Life With Woman and Four Objects, Drawn and QuarteredThe House of Science: a museum of false facts, and Which Way Is East: Notebooks from Vietnam.

Note: The following programs can be rented individually or as a package. A new video interview and between Lynne Sachs and series curator Edo Choi is also available as part of the rental fee.

For rental and pricing information, please contact: info@canyoncinema.com

All films are directed by Lynne Sachs.
Program notes by Edo Choi.


Lynne Sachs in Conversation with Edo Choi, Assistant Curator at the Museum of the Moving Image

FULL TRANSCRIPT



Program 1: Early Dissections
In her first three films, Sachs performs an exuberant autopsy of the medium itself, reveling in the investigation of its formal possibilities and cultural implications: the disjunctive layering of visual and verbal phrases in Still Life with Woman and Four Objects; un-split regular 8mm film as a metaphorical body and site of intercourse in the optically printed Drawn and Quartered; the scopophilic and gendered intentions of the camera’s gaze in Following the Object to Its Logical Beginning. These experiments anticipate the range of the artist’s mature work, beginning with her first essayistic collage The House of Science: a museum of false facts. Itself an autopsy, this mid-length film exposes the anatomy of western rationalism as a framework for sexual subjugation via a finely stitched patchwork of sounds and images from artistic renderings to archival films, home movies to staged performances.

Still Life with Woman and Four Objects (1986, 4 mins.)  New HD transfer
Drawn and Quartered (1987, 4 mins.) – new HD transfer
Following the Object to Its Logical Beginning (1987, 9 mins.)
The House of Science: a museum of false facts (1991, 30 mins.) – new HD transfer



Program 2: Family Travels
One of Lynne Sachs’s most sheerly beautiful films, Which Way Is East is a simultaneously intoxicating and politically sobering diary of encounters with the sights, sounds, and people of Vietnam, as Sachs pays a visit to her sister Dana and the two set off north from Ho Chi Minh City to Hanoi. The film is paired here with a very different kind of family journey The Last Happy Day, recounting the life of Sachs’s distant cousin Sandor Lenard, a Jewish Hungarian doctor who survived the Second World War and was ultimately hired to reassemble the bones of dead American soldiers. Here Sachs journeys through time as opposed to space, as she assembles a typically colorful array of documentary and performative elements, including Sandor’s letters, a children’s performance, and highly abstracted war footage, to bring us closer to a man who bore witness to terrible things. This program also features The Last Happy Day’s brief predecessor, The Small Ones. Program running time: 73 mins.

Which Way Is East: Notebooks from Vietnam (1994, 33 mins.) – new HD transfer
The Small Ones (2007, 3 mins.)
The Last Happy Day (2009, 37 mins.)



Program 3: Time Passes
Twenty years unspool over nine short films: portraits of Lynne Sachs’s children; visits with her mother, brother, niece and nephew; a tribute to the city where she lives; and scenes of sociopolitical trauma and protest. Nearly all shot on super 8mm or 16mm, and often silent, each work is at once a preservation of a moment and a record of change, seamlessly weaving together the candid and the performed gesture, the public and the private memory, in a simultaneously objective and subjective posture toward the passing of time. Program running time: 51 mins.

Photograph of Wind (2001, 4 mins.)
Tornado (2002, 4 mins.)
Noa, Noa (2006, 8 mins.)
Georgic for a Forgotten Planet (2008, 11 mins.)
Same Stream Twice (2012, 4 mins.)
Viva and Felix Growing Up (2015, 10 mins.)
Day Residue (2016, 3 mins.)
And Then We Marched (2017, 3 mins.)
Maya at 24 (2021, 4 mins.)



Program 4: Your Day Is My Night
2013, 64 mins. “This bed doesn’t necessarily belong to any one person,” someone says early in Your Day Is My Night. It could be the metaphorical thesis of this film, perhaps Lynne Sachs’s most self-effacing and meditative work. A seamless blend of closely observed verité footage, interpretive performance, and confessional monologues and interviews, the film doesn’t document so much as create a space to accommodate the stories and experiences of seven Chinese immigrants from ages 58 to 78 who live together in a “shift-bed” apartment in Manhattan’s Chinatown. Sachs’s quilted sense of form achieves a new level of refinement and delicacy in collaboration with her cameraman Sean Hanley and her editor Amanda Katz, as she works with the participants to exhume a collective history of migration and struggle.




Program 5: Tip of My Tongue
2017, 80 mins. Sachs’s richly generative Tip of My Tongue finds the filmmaker responding to her 50th birthday by gathering twelve members of her generational cohort—friends and peers all born between 1958 and 1964, and originating as far as Cuba, Iran, and Australia—to participate in the creation of a choral work about the convergent and divergent effects history leaves upon those who live it. From the Kennedy assassination to Occupy Wall Street, the participants reveal their memories of, and reflections upon, the transformative experiences of their lives. Set to an ecstatic, pulsing score by Stephen Vitiello, the film interweaves these personal confessions with impressionistic images of contemporary New York, obscured glimpses of archival footage, and graphically rendered fragments of text to create a radiant prism of collective memory. Preceded by Sachs’s frantic record of accumulated daily to-do lists, A Year in Notes and Numbers (2018, 4 mins.).


Thanks to: