Tag Archives: Carolee Barbara and Gunvor

Provincetown Celebrates Barbara Hammer with Exhibition

Opening reception: Friday, May 27, 6-9 PM | Barbara Hammer, Brydie O’Connor and Lynne Sach’s film schedule will be posted during the exhibition in “Happenings”.
Art Market Provincetown
http://www.artmarketprovincetown.com/art/20220527/

Barbara Hammer | Selected Films, Photographs, Drawings & Collages, along with Films by Brydie O’ Connor & Lynne Sachs

Many thanks to Florrie Burke and Louky Keijsers Koning for their support and collaboration on this exhibtion of Barbara Hammer’s works.

All works are Courtesy of the Estate of Barbara Hammer and Company gallery, New York.

Barbara Hammer often said that she had three great loves- art, nature and me. Her time in the dune shack was thrilling for her and she would be gratified that her work has come full circle to land here at AMP in Provincetown. The natural beauty of the Cape has inspired so many-Hammer among them. She loved its’ winds, sand and waves. It is fitting that the waters off Provincetown are her final resting place as she swims with the whales. — Florrie Burke

Barbara Hammer (1939-2019), known for her groundbreaking films that celebrated female sexuality began filming in the 1970s, the decade she called “that glorious time of feminist ideals and lesbian bed-hopping.” It was also the time, after a yearlong trip around the world on a motor scooter, that she decided to be an artist. She enrolled in a painting course taught by abstract expressionist William Morehouse, who saw such movement in Hammer’s paintings that he encouraged her to experiment with film. It was the start of her new life: as filmmaker, single woman, and lesbian—a word she’d never heard until the age of 30.

“When I made love with a woman for the first time my entire worldview shifted,” Hammer said. “In addition to the sensual pleasures, my social network completely changed; I was swept up with the energies and dreams of a feminist revolution.” Hammer made 29 films in the 1970s, many of which reflected her exploration of sex and identity, like Multiple Orgasm, 1976 and Dream Age from 1979.

Hammer’s artistic output wasn’t limited to film only, she took her sketchbooks and photo camera everywhere she went, which resulted in intimate drawing as well as playful and performative photographs, like the BH Gestallt series, which will be on view among a selection of drawings.

Throughout the 1980s and 1990s, the time of Reagan, AIDS, and heightened LGBT activism, Hammer’s films blended feminist politics, lesbian erotica, and social comment. No No Nooky TV (1987), one of the films on display confronts the feminist controversy around sexuality with electronic language, pixels and interface.

In the 2000s Barbara Hammer’s output slowed down, as she focused on feature films. However, in the last 13 years of her life she published an autobiography, Hammer! Making Movies Out of Sex and Life and created 7 new films as well as a digital rendering of a selection of her sketchbook drawings, titled Lesbian Whale (2015).

Hammer’s work is held in several permanent collections, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, the Whitney Museum of American Art, and the Australian Center for the Moving Image in Melbourne. Her complete catalogue of 16 and 8mm film, as well as Super 8, is in the collection of the Academy of Motion Picture Arts and Sciences Film Archive in Los Angeles, and her papers are available for review at Yale University’s Beinecke Rare Book and Manuscript Library in New Haven.

During her lifetime she created two awards for lesbian and queer filmmakers, and had retrospectives at the Museum of Modern Art, the Tate Modern, the Jeu de Paume in Paris, and the Hammer Museum in Los Angeles. The Leslie-Lohman Museum of Gay and Lesbian Art in New York mounted a retrospective of her film, photography, drawings, and sculpture, which New York Times art critic Holland Cotter named one of the best exhibitions of that year.

(The above text is based on a text written by Andrew Durbin and Susan Champlin)

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Brydie O’ Connor | Documentary film: Love, Barbara

Love, Barbara is short (15 min.) documentary about the iconic legacy of pioneering lesbian experimental filmmaker, Barbara Hammer, through the lens and love of her partner of over 30 years, Florrie Burke.

Brydie O’Conner is a Kansas-bred, New York based filmmaker.

Her award-winning work spans the documentary and narrative fields with a focus on women-driven and queer stories. Brydie has directed short documentaries LOVE, BARBARA (2021) which premiered at Academy Award-qualifying Santa Barbara International Film Festival and FRIENDS OF DOROTHY (2020), which premiered in New York at DOC NYC. In 2021, Brydie was selected for The Future of Film is Female Award, and she received a NYSCA grant sponsored by Women Make Movies in addition to a Brooklyn Arts Council grant. In 2019-2020, she workshopped her forthcoming film in the Female Filmmakers Berlin Directing Lab. Much of her work is inspired by archival histories.

Brydie’s producing credits include THE LESBIAN BAR PROJECT with Executive Producer Lea DeLaria, WOMONTOWN for PBS Kansas City, and she has archival produced Season 7 of THE CIRCUS on Showtime in addition to various projects on Left/Right TV’s roster. She is a graduate of The George Washington University.

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Lynne Sachs | Films: A Month of Single Frames & Carolee, Barbara & Gunvor

A Month of Single Frames (Made with and for Barbara Hammer; 14 min. color sound 2019): “In the last few months of filmmaker Barbara Hammer’s life, she asked me to come to her home to discuss something she needed to say in person. I immediately faced a complicated set of emotions. I knew that this tête-à-tête would involve some kind of good-bye, but I had no idea that she had decided to share a part of her personal archive, and thus a part of her being on this earth, with me. As I sat at her side, Barbara vividly described to me her 1998 artist residency in Provincetown, Cape Cod, Massachusetts. For one month, she lived and made her art in a shack without running water or electricity. While there, she shot 16mm film with her Beaulieu camera, made field recordings, and kept a journal. Barbara’s only instructions to me were very simple: “Do absolutely whatever you want with this material.” While writing the text for my own film, the words I placed on the screen came to me in a dream. I quickly realized that this kind of oneiric encounter could become a posthumous continuation of the dialogue I had started with Barbara. Since I would never again be able to speak to her about her life or the ontological nature of cinema or the textures of a sand dune, I would converse with her through A Month of Single Frames. Through my writing, I tried to address Barbara’s celebration of solitude and cinematic embodiment. Ultimately, my text on the screen over Barbara’s images functions as a search for a cinematic experience that brings us all together in multiple spaces at once. It is also an embrace of an ambiguous second person you who might be Barbara herself or might be anyone watching the film.”

Carolee, Barbara & Gunvor (Super 8mm and 16mm film transferred to digital, 9 minutes, 2018): From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.

Lynne Sachs is an experimental filmmaker and poet living in Brooklyn. She has produced over 40 films as well as numerous live performances, installations and web projects. In 2019, Tender Buttons Press published Lynne’s first book Year by Year Poems. Working from a feminist perspective, she investigates connections between the body, the camera, and the materiality of film itself. She uses letters, archives, diaries, poetry and music, to take us on a critical journey through reality and memory. Over the years, Lynne has worked closely with fellow filmmakers Craig Baldwin, Bruce Conner, Barbara Hammer, Chris Marker, Carolee Schneemann, and Trinh T. Min-ha. Between 1994 and 2006, she produced five essay films that took her to Vietnam, Bosnia, Israel/ Palestine, 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. Lynne’s films have screened at MoMA, Tate Modern, Image Forum Tokyo, Wexner Center for the Arts, and festivals such as New York Film Festival, Oberhausen Int’l Short FF, Punto de Vista, Sundance, Vancouver IFF, Viennale and Doclisboa. Retrospectives of her work have been presented at the Museum of Moving Image, Sheffield Doc/Fest, BAFICI, Cork Film Festival, Havana Film Festival.


AMP is a live contemporary gallery space dedicated to exhibiting multi-disciplined work by visual, conceptual, performance artists, filmmakers and writers. Exhibitions & Happenings are primarily cutting-edge, and often process-based.

2022 features Martin R. Anderson, Shez Arvedon, Midge Battelle, Susan Bernstein, Mx Justin Vivian Bond, Terry Boutelle, Linda Leslie Brown, Bobby Busnach, Karen Cappotto, Jamie Casertano, Barbara E. Cohen, Liz Collins, Anne Corrsin, Jeanne-Marie Crede, Jay Critchley, Katrina del Mar, Phyllis Ewen, Lola Flash, Kathi Robinson Frank, Barbara Hadden, Barbara Hammer, Michelle Handelman, Heather Kapplow, Jackie Lipton, Shari Kadison, Zehra Khan, David Macke, Jade McGleughlin, Zammy Migdal, Bobby Miller, Pasquale Natale, Alice O’Malley, Pat Place, Mark Rosenthal, Marian Roth, Nancy Rubens, Jicky Schnee, Lori Swartz, Christopher Tanner, Gail Thacker, Judith Trepp, Suara Welitoff, Forrest Williams, Rick Wrigley & others.

JP Art Market, AMP’s independent sister gallery created by artist Patti Hudson has long been an integral contributor to the Boston arts community showing work by emerging and established, local and international artists such as Kristen Dodge, Leslie Hall, Lisa King, Roger Miller, and Patti Smith.

AMP Gallery, 432 Commercial Street, Provincetown MA 02657 | Mail: PO Box 807

Debbie Nadolney, Gallery Director, Curator

info@artmarketprovincetown.com | 646.298.9258

Open May – October, and always by appointment.

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.

Chicago Filmmakers: Agitate Essential Cinema

Chicago Filmmakers

AGITATE ESSENTIAL CINEMA: LEADERS IN AVANT-GARDE FILM + VIDEO | IN-PERSON SCREENING ON DEC. 18

https://chicagofilmmakers.org/upcoming-screenings-and-events/agitate-essential-cinema

Agitate is group show that spotlights leading voices in contemporary avant-garde film and video – a collection of multidisciplinary artists whose work grapples with and transcends the nihilism at the core of white patriarchy, cinematic expression, and the mediated reality that dominant cultures spawn.

AGITATE ESSENTIAL CINEMA: LEADERS IN AVANT-GARDE FILM + VIDEO

Agitate Essential Cinema Volume 1 screens in-person at Chicago Filmmakers on Saturday, December 18th at 7:00pm!

Agitate Essential Cinema Volume 1 includes the work of Nazlı Dinçel, Karissa Hahn, Sylvia Toy St. Louis, Lynne Sachs, Morrison Gong, Gisela Guzmán, Kelly Gallagher, J.E. Sharpe, Xiaoer Liu, Anu Valia and Sara Suarez. These artists, in concert, express resistance and exuberance in equal measure, each using unique dimensions of cinematic space, ranging from abstract-material to narrative approaches, presenting a collage of phenomenological records of identity and a rebuttal to the term: “Essential Cinema”.

Through this series, we are looking to create a new cinematic cannon that is not defined by white patriarchy but by the vast explorations on space and identity led prominently by those who do not identify as white and male. These are visions inherent to the avant-garde, especially in 2020.

Agitate is an all-inclusive international avant-garde that promotes artists of all types, all genders, and all races. It was founded by Xiaoer Liu, Gisela Guzmán, and M. Woods, but it has no leadership structure, and everyone has an equal voice. Anyone can be a leader in Agitate. This is Agitate’s first traveling screening series. It is a renegotiation of the term “Essential Cinema”.


Chicago Filmmakers Firehouse Cinema

In-person screenings are held at Chicago Filmmakers firehouse cinema located at 1326 W Hollywood Ave in the Edgewater neighborhood. Please be sure to arrive 15 minutes prior to showtime and be ready to present your order confirmation number for admission. Proof of full vaccination or a negative Covid-19 PCR test result is required to attend all screenings and events.

“Thoughts on Making Films with Barbara Hammer ” Published in Camera Obscura

“Thoughts on Making Films with Barbara Hammer” by Lynne Sachs Published in Camera Obscura, Feminism, Culture, and Media Studies Duke University Press
Volume 36, Number 3 (108)
Dec. 2021

Link: https://read.dukeupress.edu/camera-obscura/article-abstract/36/3%20(108)/129/287803/Thoughts-on- Making-Films-with-Barbara-Hammer?redirectedFrom=fulltext

Abstract
This personal essay articulates filmmaker Lynne Sachs’s experiences working with experimental filmmaker Barbara Hammer. Sachs conveys the journey of her relationship with Hammer when they were both artists living in San Francisco in the late 1980s and 1990s and then later in New York City. Sachs initially discusses her experiences making Carolee, Barbara and Gunvor (US, 2018), which includes Hammer, the conceptual and performance artist Carolee Schneemann, and the experimental filmmaker Gunvor Nelson. She then discusses her 2019 film, A Month of Single Frames, which uses material from Hammer’s 1998 artist residency in a Cape Cod shack without running water or electricity. While there, she shot film, recorded sounds, and kept a journal. In 2018, Hammer began her process of dying by revisiting her personal archive. She gave all of her images, sounds, and writing from the residency to Sachs and invited her to make a film with the material. Through her own filmmaking, Sachs explores Hammer’s experience of solitude. She places text on the screen as a way to be in dialogue with both Hammer and her audience. This essay provides context for the intentions and challenges that grew out of both of these film collaborations.


Barbara Hammer and I met in 1987 at a time when the Bay Area was affordable enough to become a mecca for alternative, underground, experimental filmmaking. She taught me the fine, solitary craft of optical printing during a weekend workshop, thus beginning a friendship that eventually followed us across the country to New York City. We were able to see each other often during the last few years of her life. Between 2015 to 2017, Barbara agreed to be part of the making of my short experimental documentary Carolee, Barbara and Gunvor (2018) a three-part film that includes Carolee Schneemann and Gunvor Nelson. I met all three women in the late 80s and early 90s in the San Francisco  experimental film community and kept in close touch with each of them, both in person and through virtual correspondences, for many years. All three were renowned artists and beloved friends, just a generation older than I, who had embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Gunvor’s village in Sweden to Barbara’s West Village studio,  I shot film with each woman in the place where she found grounding and spark.

Barbara believed that I would see her at her best on a Tuesday, the day of the week in which she would be most energetic after her chemotherapy treatments. That afternoon, I “directed” Barbara to run along a fence as fast as she could toward the camera, without realizing that I had calibrated the f/stops on my camera to reveal the shadow from the fence across her body, creating a fabulous series of stripes in the resulting image. I returned to Barbara’s studio during another chemo period. As we stood together holding our cameras, I thought about her films Sanctus (1990) and Vital Signs (1991), which she was making when we first met in San Francisco. In Barbara’s prescient words, these films “make the invisible, visible, revealing the skeletal structure of the human body as it protects the hidden fragility of interior organ systems.” (Barbara Hammer, Electronic Arts Intermix, description of 16mm film, 1990). That afternoon in her studio, Barbara picked up one heavy 16mm camera after another.  She then proceeded to dance with her furniture, embracing that robust physicality so many of us associate with her performative work. In this, my first collaboration with Barbara, I had the chance to photograph her trademark interactions with absolutely any objects she could get her hands on. For both of us, these moments of creative intimacy became the gift we somehow expected from our open, porous artmaking practice. We both wanted more, and by 2018 Barbara had figured out the way to make it happen.

Barbara asked me to come to her home to discuss something she needed to say in person. I immediately faced a complicated set of emotions. This was around the time she gave the talk “The Art of Dying or (Palliative Art Making in the Age of Anxiety)” at the Whitney Museum. Inspired by Rainer Marie Rilke’s book Letters to a Young Poet, she ruminated on the experiences of living with advanced cancer while making art. In her performative lecture, she shared examples from her art-making practice and deeply considered, lucid thoughts on her experience of dying. I knew that this tête-à-tête would involve some kind of good-bye, but I had no idea that she had decided to share a part of her personal archive, and thus a part of her being on this earth, with me. Filmmaking, in the tradition that Barbara and I have espoused for most of our lives as experimental makers, involves a deeply focused solitary period of introspection. A complementary aspect of our practice, however, calls for playful, engaged exchanges with all of the people in the film — both in front and behind the camera. Fundamental to Barbara’s sense of herself as an artist was her commitment to deep and lasting intellectual engagement with her fellow artists in the field, particularly other women who were also trying to find an aesthetic language that could speak about the issues that meant so much to us. By asking me to work with her, alongside her but not “for” her, Barbara, a feminist filmmaker, was actually creating an entirely new vision of the artist’s legacy.

As I sat at her side in the apartment she shared with her life partner Florrie Burke, she explained to me that she had obtained funding from the Wexner Center for the Arts in Columbus, Ohio for this endeavor. There was money and post-production support for her to invite three other filmmakers (Deborah Stratman, Mark Street, and Dan Veltri) to complete films from her archive of unfinished projects. Barbara vividly described to me her 1998 artist residency in Provincetown, Cape Cod, Massachusetts.

For one month, she lived and made her art in a shack without running water or electricity. While in her Dune Shack, as it is still called, she shot 16mm film with her Beaulieu camera, made field recordings, and kept a journal. Barbara’s only instructions to me were very simple: “Do absolutely whatever you want with this material.”

Knowing her work as I did, it was not surprising to me that she was able to face her imminent death in this open, intimate, transparent, and sensual way. From Sanctus and Vital Signs — both of which excavated her own shock and sadness in the face of the AIDS epidemic — to Evidentiary Bodies (2018), which confronted and embraced her own cancer, Barbara developed a precise visual aesthetic that traced her own relationship to her end. Whether she was using her phenomenal optical printing and matting techniques in the studio or performing for the camera, she found an astonishingly inventive cinematic language to explore the resonances of both disease and death. It was with Evidentiary Bodies, her final work that was at the core of her Whitney talk, that she so eloquently witnessed her departure.

About that film, Barbara wrote of herself in the third person:

“The work is experienced and perceived through the performer’s body as we breathe together remembering that cancer is not a ‘battle,’ cancer is a disease. There are aberrant cells not ‘deadly foes.’ She is not ‘combative’ and ‘brave,’ she is living with cancer. She is not going to win or lose her ‘battle.’ She is not a ‘survivor,’ she is living with cancer. There is not a ‘war’ on cancer; there is concentrated research.”

Barbara always had an uncanny ability to understand herself from the inside out and from the outside in. Her films were visceral and personal. They were also exhilaratingly political. As I read through Barbara’s Dune Shack journal, I noticed that she referred to herself in the first and the third person, moving between from the I to the she.

“This morning I began the film. I didn’t shoot it. I saw it. The dark triangular shadow of the shack out the west end window of the upstairs bedroom would shrink and disappear as I sat sweating, single-framing second by second.”

“She had turned 60 today. She was almost the age her mother was when she died, regretful of not living her dreams and desires out into an old age. How resentful she would feel were she to die three years from today. Die without having had her pet dog, her country home, her long lazy days gardening and walking in the yard. Die without knowing the outcome of her partner’s work. The sadness of departure. The inevitable ending of breath and blood coursing. The complete and thorough blankness. “Is this why we make busy,” she wondered, “so that we won’t have time or space to contemplate the heart wrenching end to this expanse called life?”

While writing the text for my own film, the words I placed on the screen came to me in a dream the day I was to begin my final edit at the Wexner Center. By this time Barbara had died. I quickly realized that this kind of oneiric encounter could become a posthumous continuation of the dialogue I had started with Barbara the year before, during the making of Carolee, Barbara, and Gunvor. Since I would never again be able to speak to her about her life or the ontological nature of cinema or the textures of a sand dune, I would converse with her through A Month of Single Frames, the title I chose for my 14-minute film.

Through my writing, I tried to address Barbara’s celebration of solitude and cinematic embodiment. Ultimately, my text on the screen over Barbara’s images functions as a search for a cinematic experience that brings us all together in multiple spaces at once. It is also an embrace of an ambiguous second person you who might be Barbara herself or might be anyone watching the film.

This is how I see you.

This is how you see yourself. You are here.

I am here with you.

This place is still this place.

This place is no longer this place. It must be different.

You are alone.

I am here with you in this film. There are others here with us. We are all together.

Time less yours mine

Barbara’s imprint on my own filmmaking practice is profound. I observed in her work a conscious physical relationship to the camera. For the most part, she shot her own films and in turn found her own distinct visual language for talking about women’s lives, liberation, love, struggle, awareness, and consciousness. Discovering Barbara’s films released something in my own camerawork; my images became more self-aware, and more performative. Thinking about Barbara’s radical, improvisational and totally physical cinematography continues to push me to dive deeply and fully into my body as I am shooting.

In Carolee, Barbara and Gunvor, I brought Barbara together on screen with two other pioneers of the American avant-garde. In an email, she wrote these words to me after seeing the film for the first time: Hi Lynne, I had a chance to watch your lovely film! I was surprised at how energetically I performed for your camera. I’m honored to be grouped with such strong and remarkable filmmakers. Love, Barbara.” As aware of each other as they were of themselves, the film’s two other subjects also acknowledged her.

Carolee, who sadly died shortly before Barbara, wrote: “I loved seeing Barbara with those old Bolex cameras,” and Gunvor commented on how “Barbara moves so fast and vigorously as she walks toward the camera!”

These two films are my gifts to these women and to our shared audiences. Carolee, Barbara and Gunvor and A Month of Single Frames together attempt to reveal the great mind-body weave of Barbara Hammer’s life: her commitment to cinematic embodiment, her openness about dying, and her deeply held desire to find common space for women of all generations.

“Carolee, Barbara and Gunvor” to screen at Remake (Frankfurt) programme The Resumption of Work in Film

Remake Frankfurter
23-28 Nov 2021
The Resumption of Work in Film
Welcome to the 2021 Frankfurt Women’s Film Days
https://www.remake-festival.de/en/dienstag/welcome-to-the-2021-frankfurt-womens-film-days-short-film-programme/

The programme extends through the 125-year history of the cinema, beginning in 1885 with the first film. Auguste and Louis Lumière had just invented the Cinématographe. Their first images show workers leaving the Lumière factory where photographic plates were manufactured. Many of them are women. The Industrial Revolution was also female.

A number of years later, two films were made that are part of the legendary Mitchell & Kenyon collection. Spinning and weaving workers – including many children – are leaving a factory in industrialised England. People haggle and shove each other at a fish market. These silent films are witnesses to the transition to modern society.

A classic strike(-ending) scenario can be seen in Resumption of Work at the Wonder Factory. In June 1968, people vote to return to work in the Wonder factories in Saint-Ouen, France. But one young female worker protests the compromise furiously, demonstrating the spontaneity of the workers’ revolt. Two union members try to convince her. At the factory gate, an authoritarian “boss” demands obedience.

In the early 1980s, at a time of radical political upheavals in India, the Yungatar film collective created emancipatory films, among them the improvised narrative short Is this just a Story? It tells of a young woman in the process of articulating her situation as she fights her way out of domestic violence, the burdens of being a housewife and mother, isolation and depression.

Then, in her performance video Semiotics of the Kitchen, Martha Rosler “replaces the domesticated ‘meaning’ of tools with a lexicon of rage and frustration” – and with subversive humour.

The experimental film work of artists Carolee Schneemann, Barbara Hammer and Gunvor Nelson once infiltrated a masculine domain. Lynne Sachs calls on them with her Super 8 and 16mm cameras, asking them to look back and to describe their current artistic work.

The programme ends with a “radicalised servant girl”. The ladies and gentlemen have gone on a journey, and Cunégonde’s family pays her a visit. Not a good thing all for the bourgeois household!

The silent films will be accompanied on the grand piano by Uwe Oberg

Sortie d’Usine

FR 1895 | Director: Louis Lumière | b/w | DCP of 35mm, restored version | 1 min | silent | Institut Lumière

Employees leaving Gilroy’s Jute Works, Dundee

GB 1901 | Director, Production: Mitchell & Kenyon | b/w | DCP of 35mm | 3 min | silent | British Film Institute

North Sea Fisheries, North Shields

GB 1901 | Director, Production: Mitchell & Kenyon | b/w | DCP of 35mm | 3 min | silent | British Film Institute  

La Reprise du Travail aux Usines Wonder / Resumption of Work at the Wonder Factory

FR 1968 | Director: Etats Généraux du Cinéma | Camera: Pierre Bonneau | Sound: Liane Estiez | b/w | 16mm | 10 min | french OV with german SUB | Arsenal – Institut für Film und Videokunst e.V

Idhi Katha Matramena / Is this just a Story?
IND 1983 | Director: Yugantar Film Collective | Camera: Navroze Contractor | Editor: Lawrence | Sound: Deepa Dhanraj | Cast: Lalita K., Poornachandra Rao, Rama Melkote | b/w | DCP | 26 min | telugu OV with english SUB | Arsenal – Institut für Film und Videokunst e.V

Semiotics of the Kitchen
USA 1975 | Director: Martha Rosler | DCP | b/w | 6 min | amer. OV | Electronic Arts Intermix

Carolee, Barbara and Gunvor
USA 2018 | Director, Camera, Sound, Production: Lynne Sachs | Colour | DCP | 9 min | OV with english SUB | Kino Rebelde

Cunégonde reçoit sa famille
FR 1912 | Cast: Little Chrysia | b/w | 6 min | DCP | silent | dutch INT + english SUB | EYE Film Institute Amsterdam


About the Festival

Remake. Frankfurt Women’s Film Days
Presented by Kinothek Asta Nielsen e.V.

In November 2018, the Kinothek Asta Nielsen in Frankfurt am Main presented the inaugural edition of Remake. Frankfurt Women’s Film Days, that takes place biennially since 2019. The third edition will take place in 2021.

The Kinothek has promoted film work by women for nearly twenty years through film presentations, thematic programmes, exhibitions and retrospectives, facilitating the discussion of gender relations in film. The Remake festival integrates a new event format into our previous work: a programme with a thematic focus will unfold in a mixture of festival and symposium. “Remake” refers to the connection with history that characterises all the Kinothek’s work: films spanning more than a hundred years emerge anew in the perception of viewers when they are shown today. Films exist only in their screening, so that the presentation of films is itself a form of film-making, a re-make. 

History constitutes a key aspect of the festival. Old films are not merely old; instead, if they are shown in a context where their significance can unfold, the past can be experienced through them as an element of the present day. Not least because of such connections, old films will be screened together with recent ones, and projected images will be accompanied by introductions, commentaries, talks, and discussions. Special attention will be paid to screening spaces and their creation – and to the extent possible, all films will play in their original format, whether it’s 35mm, 16mm, Super 8 with analogue sound, or digital. We feel particularly strongly about the musical accompaniment at silent film screenings. 

The formal structure of Remake corresponds to the content, whereby various epochs and genres are woven together in the programme. Topics such as women and gender relations in film, or aspects of queer cinema, come to light through their interconnection with other social phenomena, as with women’s emancipation in the context of migration, colonialism, or racism. Each edition of the Frankfurt Women’s Film Days originates in contextual links and expands in a variety of programmes that correlate to one another to form an overall design, a kind of “archipelago.” 

Remake will also always contain a programme section that is dedicated to a woman filmmaker whose work is threatened by oblivion and disappearance.

We want our programme to pay tribute not only to film history, but also to the history of feminist film festivals. The first of these, which took place in 1972 in New York and Edinburgh, were largely dedicated to the (re-) discovery of women filmmakers. Many of their works, which saw the light of projectors in the early 70s, have disappeared again, and copies can only be found with difficulty, if at all. Through revivals of past programmes and conversations with their organisers, we will remember this history, from which our work has also emerged. Each edition of Remake. Frankfurt Women’s Film Days will be dedicated to one of the earlier festivals.

AEMI Presents- Day Residue: A Film-Making Workshop on the Every Day, in-person workshop in Cork (NOVEMBER 9)

aemi @ CIFF: Workshop with Lynne Sachs
9 November 2021 / 11am – 4pm / Crawford College of Art and Design, Cork
https://aemi.ie/event/workshop-with-lynne-sachs/

We are really excited to work with aemi’s Artist in Focus Lynne Sachs to deliver a workshop as part of CIFF 2021. This in-person workshop in Cork will focus on the interplay between poetry and cinema. Based in New York, Lynne Sachs is an award winning filmmaker whose work bridges personal experience and political concerns through her singular approach to filmmaking. Lynne uses both analogue and digital mediums, weaving together text, collage, painting, politics and layered sound design.

‘Day Residue: A Film-Making Workshop on the Every Day’ is open to both emerging and established artists interested in film and writing. The workshop is an excellent opportunity for film artists to deeply consider creative approaches to writing and film, both in relation to their own practices and within wider contexts.

Day Residue: A Film-Making Workshop on the Every Day
Lynne Sachs: According to Sigmund Freud’s theory of dreams, our day residue is composed of the memory traces left by the events of our waking state.  In this workshop, we explore the ways in which fragments of our daily lives can become material in writing for a personal film. While many people in the film industry rely upon a chronological process that begins with the development phase and ends with post-production, our Day Residue workshop will build on an entirely different creative paradigm that encourages artists to embraces the nuances, surprises and challenges of their daily lives as a foundation for a diaristic practice.

The day will be structured by two sessions: in addition to introducing her practice and collectively watching Lynne’s programme of short films curated by aemi for CIFF (see film info below), Lynne will also lead a session on writing and film / writing for film, and the possible interplays between the two – extending to the role of poetry.


In-person screening programme within the workshop:

Lynne Sachs, Carolee, Barbara & Gunvor, 2018, USA, 8 min
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three artists who embraced the moving image throughout their lives.

Lynne Sachs, Still Life With Women And Four Objects, 1986, USA, 4 minA portrait that falls somewhere between a painting and a poem, a look at a woman’s daily routines and thoughts via an exploration of her as a ‘character’.

Lynne Sachs, Drawn and Quartered, 1986, USA, 4 minOptically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections.

Lynne Sachs, The House of Science: A Museum of False Facts, 1991, USA, 29 min
A girl’s difficult coming-of-age rituals are recast into a potent web for affirmation and growth.

Lynne Sachs and Anne Lesley Selcer, Girl is Presence, 2020, USA, 5 min
Against the uncertain and anxious pandemic atmosphere, inside domestic space, a ‘girl’ arranges and rearranges a collection of small and mysterious things.

Lynne Sachs and Moira Sweeney, Longings, 2021, USA/ Ireland, 90 seconds
A collaboration exploring the resonances and ruptures between image and language.

Lynne Sachs, Drift and Bough, 2014, USA, 6 minLynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper.

Lynne Sachs, Starfish Aorta Colossus, 2014, USA, 4 min
Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for digital sculpting of an 8mm Kodachrome canvas.

Lynne Sachs, Maya at 24, 2021, USA, 4 minLynne Sachs films her daughter Maya at 6, 16 and 24.

Lynne Sachs with and for Barbara Hammer, A Month of Single Frames, 2019, USA, 14 min
In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. She shot film and kept a journal. In 2018 Hammer, facing her own imminent death, gave her material to Lynne and invited her to make a film.


This is a free workshop, however as numbers are limited, prior booking is essential.

Please email Emer at info@aemi.ie in advance to secure a place.


Biography 
Lynne Sachs (Memphis, Tennessee, 1961) is a filmmaker and poet living in Brooklyn, New York. Her work explores the intricate relationship between personal observations and broader historical experiences by weaving together text, collage, painting, politics and layered sound design. Strongly committed to a feminist 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. Her moving image work ranges from short experimental films, to essay films to hybrid live performances. Lynne has made 37 films, including features and shorts, which have screened, won awards or been included in retrospectives at New York Film Festival, Museum of Modern Art, Sundance, Oberhausen, Viennale, Sheffield Doc/Fest, BAFICI, RIDM Montréal, Vancouver Film Festival, Doclisboa, Havana IFF, and China Women’s Film Festival. In 2014, she received the Guggenheim Fellowship in the Creative Arts.

aemi: Artist in Focus: Lynne Sachs (at the 66th Cork Film Festival)

66th Cork Film Festival
November 16-18, 2021
https://2021.corkfilmfest.org/films/aemi-artist-in-focus-lynne-sachs-615afd65aae68d005a5685ed

I will be heading to Cork International Film Festival in Ireland to present “Film About a Father Who” with 10 short films as part of their AEMI artist focus on my work. Honored to share four collaborative film poems: “Longings” made with filmmaker Moira Sweeney (who will be there with us!); “A Month of Single Frames” made with Barbara Hammer; “Girl is Presence” made with Anne Lesley Selcer; and, “Starfish Aorta Colossus” made with Paolo Javier.


Making work since the 1980s Lynne Sachs’ films have incorporated a cross-pollination of forms that extend to the essay film, documentary, collage, performance, and poetry. Deeply reflexive, Sachs’ films to date have outlined a rich interplay between the personal and the socio-political. aemi is delighted to present this overview of selected short works by Lynne Sachs at Cork International Film Festival, many of which are screening in Ireland for the first time. 

In addition to this shorts programme Lynne will also be in attendance at the festival for the Irish premiere of her celebrated feature Film About a Father Who.

CAROLEE, BARBARA & GUNVOR Lynne Sachs
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three artists who embraced the moving image throughout their lives.

STILL LIFE WITH WOMEN AND FOUR OBJECTS Lynne Sachs
A portrait that falls somewhere between a painting and a poem, a look at a woman’s daily routines and thoughts via an exploration of her as a ‘character’.

DRAWN AND QUARTERED Lynne Sachs
Optically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections.

THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS Lynne Sachs
A girl’s difficult coming-of-age rituals are recast into a potent web for affirmation and growth.

GIRL IS PRESENCE Lynne Sachs and Anne Lesley Selcer
Against the uncertain and anxious pandemic atmosphere, inside domestic space, a ‘girl’ arranges and rearranges a collection of small and mysterious things.

LONGINGS Lynne Sachs and Moira Sweeney
A collaboration exploring the resonances and ruptures between image and language.

DRIFT AND BOUGH Lynne Sachs
Lynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper.

STARFISH AORTA COLOSSUS Lynne Sachs
Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for digital sculpting of an 8mm Kodachrome canvas.

MAYA AT 24 Lynne Sachs
Lynne Sachs films her daughter Maya at 6, 16 and 24.

A MONTH OF SINGLE FRAMES Lynne Sachs with and for Barbara Hammer
In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. She shot film and kept a journal. In 2018 Hammer, facing her own imminent death, gave her material to Lynne and invited her to make a film.


aemi @ CIFF: Contested Legacies – Lynne Sachs and Myrid Carten

10 November 2021 / 8pm / Triskel Arts Centre Cinema
8pm Cinema screening and Q&A
https://aemi.ie/event/aemi-ciff-contested-legacies-lynne-sachs-and-myrid-carten/

The Irish premiere of Lynne Sachs’ celebrated feature Film About a Father Who screens here alongside the world premiere of Myrid Carten’s short film Sorrow had a baby. Both artists will be in attendance for a discussion of their work following the screening.

Both Film About a Father Who and Sorrow had a baby deal, in very different ways, with familial legacy incorporating personal archives and pushing against the traditional boundaries of documentary practice. Myrid Carten’s film Sorrow had a baby is also the first film produced through aemi’s annual film commissioning programme, supported by Arts Council of Ireland.


Myrid Carten, Sorrow had a baby,
 2021, Ireland, 16 minutesaemi Film Commission 2021
‘I absorbed the women in my life as I would chloroform on a cloth laid against my face.’ – Vivan Gornick

Sorrow had a baby explores the mother-daughter relationship through multiple lenses: memory, beauty, inheritance. Who writes the stories in a family? Who can change them?

Lynne Sachs, Film About a Father Who, 2020, USA, 74 minutesOver a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

Lynne Sachs Focus at Camera Lucida (Ecuador)

October 14-17, 2021 Loja Teatro Bolivar
November 11-19, 2021 Cuenca Teatro Sucre
November 20 – December 10, 2021 Online Ecuador 
https://www.ecamaralucida.com/2021-lynne-sachs


Program in English

Mirada Epicentro (Ceter Focus)

Authors who have made their way looking inward, achieving a work where the constant regression to aesthetic searches, thematic investigations and particular narratives, have a point at which the gaze gravitates, infects and expands.

In this edition, we are happy to share in Mirada Epicentro the work of Lynne Sachs, Bruno Varela and Ecuador de Territory, a program made up of the authors Alberto Muenala, Eriberto Gualinga and Sani Montahuano.

A Month of Single Frames
2020 – U.S.A – 14’
In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshack which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. The shack had no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal.

In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her Duneshack images, sounds and writing to filmmaker Lynne Sachs and invited her to make a film with the material.

Carolee, Barbara & Gunvor
2018 – U.S.A – 8’
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.

E•pis•to•lar•y: letter to Jean Vigo
2021 – U.S.A / España – 5’
In a cinema letter to French director Jean Vigo, Lynne Sachs ponders the delicate resonances of his 1933 classic “Zero for Conduct” in which a group of school boys wages an anarchist rebellion against their authoritarian teachers. Thinking about the Jan. 6, 2021 assault on the United States Capitol by thousands of right-wing activists, Sachs wonders how innocent play or calculated protest can turn so quickly into chaos and violence.

Drawn and Quartered
1987 – U.S.A – 4’
Optically printed images of a man and a woman are fragmented by a film frame that is divided into four distinct sections. An experiment in form/content relationships that are peculiar to the medium, 1987

Film About a Father Who
2020 – U.S.A – 74’
Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. FILM ABOUT A FATHER WHO is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

Following the Object to its Logical Beginning
1987 – U.S.A – 9’
Like an animal in one of Eadweard Muybridge’s scientific photo experiments, five undramatic moments in a man’s life are observed by a woman. A study in visual obsession and a twist on the notion of the “gaze”.

Maya at 24
2021 – U.S.A – 4’
Lynne Sachs films her daughter Maya in 16mm black and white film, at ages 6, 16 and 24. At each iteration, Maya runs around her mother, in a circle – clockwise – as if propelling herself in the same direction as time, forward. Conscious of the strange simultaneous temporal landscape that only film can convey, we watch Maya in motion at each distinct age.

Photograph on Wind
2001 – U.S.A – 4’
My daughter’s name is Maya.  I’ve been told that the word maya means illusion in Hindu philosophy.  As I watch her growing up, spinning like a top around me, I realize that her childhood is not something I can grasp but rather  – like the wind – something I feel tenderly brushing across my cheek.

Same Stream Twice
2012 – U.S.A – 4’
In 2001, I photographed her at six years old, spinning like a top around me. Even then, I realized that her childhood was not something I could grasp but rather – like the wind – something I could feel tenderly brushing across my cheek.

Still Life with Woman and Four Objects
1986 – U.S.A – 4’
A film portrait that falls somewhere between a painting and a prose poem, a look at a woman’s daily routines and thoughts via an exploration of her as a “character”. By interweaving threads of history and fiction, the film is also a tribute to a real woman – Emma Goldman, 1986 .

The house of science: a museum of false facts
1991 – U.S.A – 30’
Offering a new feminized film form, this piece explores both art and science’s representation of women, combining home movies, personal remembrances, staged scenes and found footage into an intricate visual and aural college. A girl’s sometimes difficult coming of age rituals are recast into a potent web for affirmation and growth.

Viva and Felix Growing Up 
2015 – U.S.A – 10’
Capturing fragments of the first three years of her twin niece’s and nephew’s lives with their two dads (her brother Ira Sachs and his husband Boris Torres) and their mom (Kirsten Johnson), Sachs affectionately surveys the construction of family.

Which way is east
Lynne Sachs / Dana Sachs
1994 – U.S.A – 33’
When two American sisters travel north from Ho Chi Minh City to Hanoi, conversations with Vietnamese strangers and friends reveal to them the flip side of a shared history.  Lynne and Dana Sachs’ travel diary of their trip to Vietnam is a collection of tourism, city life, culture clash, and historic inquiry that’s put together with the warmth of a quilt.  “Which Way Is East” starts as a road trip and flowers into a political discourse.  It combines Vietnamese parables, history and memories of the people the sisters met, as well as their own childhood memories of the war on TV.  To Americans for whom “Vietnam” ended in 1975, “Which Way Is East” is a reminder that Vietnam is a country, not a war.  The film has a combination of qualities: compassion, acute observational skills, an understanding of history’s scope, and a critical ability to discern what’s missing from the textbooks and TV news. (from The Independent Film and Video Monthly, Susan Gerhard)


Program in Spanish

Mirada Epicentro

Autoras y autores que han labrado su camino mirando hacia dentro, logrando una obra donde la regresión constante a búsquedas estéticas, investigaciones temáticas y narrativas particulares, disponen un punto en el cual la mirada gravita, se contagia y se expande.

En esta edición, nos alegramos compartir en Mirada Epicentro la obra de Lynne Sachs, Bruno Varela y Ecuador de territorio, un programa conformado por los autores Alberto Muenala, Eriberto Gualinga y Sani Montahuano. 

A Month of Single Frames
2020 – U.S.A – 14’
En 1998, la cineasta Barbara Hammer tuvo una residencia artística de un mes en Cape Cod, Massachusetts. La choza no tenía agua corriente ni electricidad. Mientras estuvo allí, filmó una película de 16 mm, grabó sonidos y llevó un diario. En 2018, Barbara comenzó su propio proceso de muerte revisando su archivo personal. Ella le dio todas sus imágenes, sonidos y escritura de la residencia a la cineasta Lynne Sachs y la invitó a hacer una película.

Carolee, Barbara & Gunvor
2018 – U.S.A – 8’
De 2015 a 2017, Lynne visitó a Carolee Schneemann, Barbara Hammer y Gunvor Nelson, tres artistas multifacéticos que han abrazado la imagen en movimiento a lo largo de sus vidas. Desde la casa del siglo XVIII de Carolee en los bosques del norte del estado de Nueva York hasta el estudio de Barbara en West Village y el pueblo de la infancia de Gunvor en Suecia, Lynne graba una película con cada mujer en el lugar donde encuentra la base y la chispa.

E•pis•to•lar•y: letter to Jean Vigo
2021 – U.S.A / España – 5’
En una epistolar fílmica dirigida al director francés Jean Vigo, Lynne Sachs reflexiona sobre su clásico de 1933 “Zero for Conduct”, en el que los escolares libran una rebelión anarquista contra sus maestros autoritarios. Al pensar en el asalto del 6 de enero de 2021 al Capitolio de los EE. UU. Por parte de activistas de derecha, Sachs se pregunta cómo un juego inocente o una protesta calculada pueden convertirse tan rápidamente en caos y violencia.

Drawn and Quartered
1987 – U.S.A – 4’
Imágenes impresas ópticamente de un hombre y una mujer fragmentadas por un fotograma de película que se divide en cuatro secciones distintas. Un experimento en las relaciones forma / contenido que son peculiares del medio, 1987.

Film About a Father Who
2020 – U.S.A – 74’
Desde 1984 al 2019, Lynne Sachs filmó a su padre, un animado e innovador hombre de negocios. Este documental es el intento de la cineasta por entender las redes que conectan a una niña con su padre y a una mujer con sus hermanos. Con un guiño a las representaciones cubistas de un rostro, la exploración de Sachas ofrece visiones simultáneas y a veces contradictorias de un hombre aparentemente incognocible que públicamente se ubica de forma desinhibida en el centro del encueadre, pero en lo privado se refugia en secretos.

Following the Object to its Logical Beginning
1987 – U.S.A – 9’
Como un animal en uno de los experimentos fotográficos científicos de Eadweard Muybridge, una mujer observa cinco momentos poco dramáticos en la vida de un hombre. Un estudio sobre la obsesión visual y un giro en la noción de “mirada”.

Maya at 24
2021 – U.S.A – 4’
Conscientes del extraño paisaje temporal simultáneo que solo el cine puede transmitir, vemos a Maya en movimiento en cada época distinta.

Photograph on Wind
2001 – U.S.A – 4’
El nombre de mi hija es Maya. Me han dicho que la palabra maya significa ilusión en la filosofía hindú. Mientras la veo crecer, girando como una peonza a mi alrededor, me doy cuenta de que su infancia no es algo que pueda comprender, sino más bien, como el viento, algo que siento acariciar con ternura mi mejilla.

Same Stream Twice
2012 – U.S.A – 4’
En 2001, la fotografié a los seis años, girando como una peonza a mi alrededor. Incluso entonces, me di cuenta de que su infancia no era algo que pudiera comprender, sino más bien, como el viento, algo que podía sentir con ternura rozando mi mejilla.

Still Life with Woman and Four Objects
1986 – U.S.A – 4’
Un retrato cinematográfico que se sitúa entre una pintura y un poema en prosa, una mirada a las rutinas y pensamientos diarios de una mujer a través de una exploración de ella como un “personaje”. Al entrelazar hilos de historia y ficción, la película también es un homenaje a una mujer real: Emma Goldman, 1986.

The house of science: a museum of false facts
1991 – U.S.A – 30’
Ofreciendo una nueva forma de película feminizada, esta pieza explora la representación de las mujeres tanto en el arte como en la ciencia, combinando películas caseras, recuerdos personales, escenas escénicas y metraje encontrado en una intrincada universidad visual y auditiva. Los rituales de mayoría de edad a veces difíciles de una niña se reconvierten en una potente red de afirmación y crecimiento.

Viva and Felix Growing Up 
2015 – U.S.A – 10’
Durante los primeros tres años de la vida de mi sobrino y mi sobrina gemela, usé mi cámara Bolex de 16 mm para filmarlos mientras crecían en la ciudad de Nueva York con sus dos papás (mi hermano Ira Sachs y su esposo Boris Torres) y su mamá (Kirsten Johnson). . La película termina con un abrazo por el Día del Orgullo Gay.

Which way is east
Lynne Sachs / Dana Sachs
1994 – U.S.A – 33’
Cuando dos hermanas estadounidenses viajan al norte desde la ciudad de Ho Chi Minh a Hanoi, las conversaciones con desconocidos y amigos vietnamitas les revelan la otra cara de una historia compartida.

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.