Tag Archives: Retrospective

The Brooklyn Rail / DCTV’s Lynne Sachs: From the Outside In

The body of the body: examining the films of Lynne Sachs, inspired by a new retrospective.

July 1, 2024
By Hannah Bonner

In Barbara Hammer’s memoir HAMMER! Making Movies Out of Sex and Life she writes, “My films begin in what I call feeling images, an inseparable unity of emotion and thought/idea/image and internal bodily states of excitement.” Hammer’s desire to wed both emotion and thought, objects and bodies, could also be the epigraph to the experimental filmmaker and writer Lynne Sachs’s ongoing illustrious career. 2024 marks forty years since Sachs took her first video class at DCTV, where their June retrospective From the Outside In honors Sachs’s oeuvre of experimental shorts, cinepoems, and hybrid documentaries that explore feminism, family, New York City, labor, and “internal bodily states of excitement” with radical empathy and joy evinced in the act of their making. 

From the Outside In features twenty-four films from Sachs’s body of work spanning 1983 to 2024, as well as an artist talk and workshop on uniting poetry with cinema. This preoccupation with language and translation—or the ever ongoing interplay between the aural, textual, and visual—is always at the forefront of Sachs’s work. In the very first program, “Performing the Real,” her short Fossil (1986) opens with a series of bodies in medium close-up performing various repetitive terpsichorean movements. The VHS camera, handheld, slightly unsteady, traces their shadows and gestures against the room’s white walls. Sachs then cuts to video footage of women in Ubud, Bali, packing sand into their baskets at a river bank. Through juxtaposition, the dance is both an interpretation as well as a translation of the Indonesian women’s labor. As Sachs elaborates in a recent phone interview, the cut is “another type of line break” that allows “the juxtapositions between shots … to have [what we’ll call] free song.” 

The Washing Society (2018) expands upon the content and form of Fossil. Sachs initially began this projectwith her co-director/playwright Lizzie Olesker by informally interviewing various people who worked in laundromats to create the play Every Fold Matters, which was performed in laundromats all over New York. The composite of all those different conversations is also the content of her film. In between subjects candidly sharing their experiences of racism or overtime at work, The Washing Society also features actors delivering monologues about laundering or dancers bounding atop site specific washing machines with interpretive abandon. The Washing Society makes visible typically invisible labor both by conducting talking head interviews, as well as by lovingly translating folding gestures into emotive dance. The mix of registers (veering from participatory to performative modes of hybrid documentary), coupled with the chorus of voices, creates a powerful panoply of experiences on this historically marginalized, gendered, and racialized labor. 

Swerve concludes “Performing the Real’s” program by deftly (and movingly) uniting Sachs’s interests in translation, language, and text on screen. Inspired by Paolo Javier’s (Queens Poet Laureate 2010–14) sonnets in his 2021 book O.B.Ba.k.a. The Original Brown BoySwerve takes place in both an Asian food market and a playground in Queens. As various actors recite Javier’s lines, the camera tracks their movements closely like a confidant; at times, text layers the images, language equally worthy of sight as a face or a hand. Sachs further underscores her love of language in her short A Year in Notes and Numbers (2017) where the camera cuts from marginalia to to-do lists to vital signs in rhythmic succession. Sachs describes A Year as a “concise, autobiographical poem … made from the detritus. [It’s all] about the micro coming together.” Text typically delegated to the margins—or reserved solely for medical spheres—takes center frame. 

Elsewhere, like in E•pis•to•lar•y: Letter to Jean Vigo (2021), the letter becomes another format from which to aurally and textually examine the power and politics of images. E•pis•to•lar•y begins with the white text “Dear Jean” against a black screen, ominously overlaid with the chatter of children and what sounds like a crackling fire. Sachs then cuts to black-and-white footage of the January 6th rioters descending on the Capitol before cutting back to the black screen where white text now states, “I don’t believe that childhood is swathed in innocence.” Each member of this mob was once a child—but children are equally capable of inciting chaos as adults. Sachs subsequently cuts to footage from Peter Brook’s Lord of the Flies (1963) as two young children push a large rock from a cliff. When the rock begins its descent, Sachs immediately cuts back to the rioters overturning a barricade; the objects, as well as the sound bridge of the rock falling, links the two disparate source materials. The result is a deeply unsettling collage of mob mentality that activates the viewer not just intellectually, but sensorially due to the match on action cuts and sound bridges. This is a film where the power of images surpasses the power of the written word. Through disquieting visual juxtapositions, Sachs’s E•pis•to•lar•y returns us to Hammer’s “inseparable unity” of embodied violence and political ideology.

Yet, politics—and the politics of identity—are never removed from any of Sachs’s work. She is always already attuned to bodies (both her own and others’), and their multiplicities, gradations, and variations. As Audre Lorde wrote, “It is not our differences which separate women, but our reluctance to recognize those differences and to deal effectively with the distortions which have resulted from the ignoring and misnaming of those differences”; Sachs’s films live by Lorde’s tenet that difference is worthy of record—and celebration. Some films, like Your Day is My Night (2013), include both English and Chinese subtitles; others, like Tip of My Tongue / En la punta de mi lengua (2017), include Spanish subtitles on screen. Sachs does not always automatically assume her audiences are English speakers. Nor is she interested in documenting a single political or social experience. Nowhere is such a chorus of voices more personally rendered than in Film About a Father Who (2020). Filmed over thirty-five years, Sachs’s portrait of her charismatic yet unknowable father incorporates interviews with family members who provide loving, albeit troubling, insight into Ira Sachs Sr. as a father, husband, lover, and son. As additional facts come to light, Father reveals that sometimes the best story is told by multiple people, not just one.  

Contractions (2024)1, a much more performative documentary than Film About a Father Who, stages its bodies, rather than observes them. As an obstetrician and reproductive rights activist narrate their time working in an abortion clinic offscreen, various performers congregate outside a closed abortion clinic in Memphis, Tennessee in a long shot, their backs to the camera. The decision to obscure the faces of the performers is both to protect their privacy as well as to formally gesture to collective solidarity. Though the bodies range in age, race, and nationality, the choreography (and current political landscape) unite them in a post-Roe world, as does the cinematography which holds each and every body in the frame. Though we do not know every person’s individual story, Sachs’s camera does not discriminate. The long shot makes it possible that every person’s body, however anonymous, is seen.  

The reproductive politics of Contractions (2024) recalls Sachs’s 1991 film The House of Science: A Museum of False Facts, a more formally embodied polyphonic collage film about women’s bodies. Incorporating archival footage as well as her own home movies, The House of Science is a scintillating examination of sexuality and science’s gendered biases. Whereas Contractions requires (necessarily so) a level of remove due to the anonymity of the actors, The House of Science is much more personal due to Sachs’s incorporation of her own story, as well as varied footage. On a formal level, I would argue Sachs’s works achieve Hammer’s “internal states of bodily excitement” when they are not as performative or tightly choreographed, but more interested in the power of montage, graphic matches, and the interplay between language and sound, because it is not just the actors, but the medium itself which activates new ways of seeing. 

In The House of Science, Sachs’s diary chronicles receiving a diaphragm from “Dr. L.” in preparation for going to college, just as Esther Greenwood, in Sylvia Plath’s novel, receives a diaphragm to get out from under the bell jar’s oppressive dome. But Sachs’s doctor doesn’t tell her how to use it. Sachs’s text on screen elaborates: 

My memory of being a girl includes a “me” that is two. I am two bodies—the body of the body and the body of the mind. The body of the body was flaccid and forgotten. This was the body that was wet with dirty liquids, holes that wouldn’t close, full of smells and curdled milk. 

While Sachs may have once described her body as leaky and porous, full of “dirty liquids” and “smells,” her overall filmography affirms a heuristic approach to radical self-acceptance, not just of herself, but of others around her, including friends, family, and fellow artists like the aforementioned luminary Hammer. Through such ongoing generosity at both the level of content and form, Sachs’s films arouse ongoing intellectual and emotional compassion through myriad actors, materials, and mediums. 

  1. Contractions will begin streaming in perpetuity on the NYT OpDocs page as part of their coverage of the second anniversary of the Supreme Court’s Dobbs decision to end a woman’s constitutional right to an abortion.

THE WEEKEND WARRIOR Newsletter / From the Outside In

by Edward Douglas
June 6, 2024


“Although there aren’t as many wide releases as there were last week, at least this week’s two offerings are being released into over 3,000 theaters, and hopefully one of them will break out and save us from the biggest bummer of a summer in recent memory…

I’d usually save this next bit for the Repertory section below, but I don’t often cover stuff out of the DCTV Firehouse, which is in my neighborhood, just maybe a ten-minute walk from where I live. Anyone who has read any incarnation of this column going back to 2001 probably knows how much I generally love the documentary genre, which the Firehouse specializes in. On Friday, they’re kicking off a new retrospective series called “Lynne Sachs: From the Outside In,” with probably the most comprehensive screening of the filmmaker’s work, running from Friday, June 7, through Tuesday, June 11. I haven’t had much of a chance to watch her films, though I have seen her 2020 film Film About a Father Who, which will screen with one of her more recent shorts, The Jitters, and she’ll be there for a QnA with some of her family. It’s a little tough breaking away to get over there this weekend, being that it’s also the opening weekend of Tribeca Festival, but I want to make sure that any doc enthusiasts reading this column are aware of the series and of the DCTV Firehouse.”

This Week in New York / From the Outside In

Lynne Sachs retrospective at DCTV features screenings, Q&As, and an interactive workshop.

by Mark Rifkin 

DCTV Firehouse Cinema
87 Lafayette St.
June 7-11

Experimental filmmaker Lynne Sachs took her first video class at DCTV in 1984; she and DCTV Firehouse Cinema are celebrating this fortieth anniversary with “Lynne Sachs: From the Outside In,” a five-day retrospective with seven programs comprising two dozen of her works, from 1983’s Ladies Wear to 2024’s Contractions and the world premiere of We Continue to Speak, from the three-minute The Small Ones (2007) and The Jitters (2024) to the eighty-three-minute Tip of My Tongue (2017). Sachs will be at every program, participating in Q&As and an interactive workshop; among her special guests are Tom Day, Sam Green, Tabitha Jackson, Naeem Mohaiemen, Lizzie Olesker, Accra Shepp, and her brother Ira Sachs.

“I walked into Downtown Community TV (DCTV) in 1984 thinking I needed to take some classes on how to make a documentary film. I was twenty-two years old and open to any possibility, any guidance, and totally impressionable,” Sachs said in a statement. “From that moment on, I learned to challenge every conventional expectation about working with reality. As I continue to explore the connections between the body, the camera, and the materiality of film itself, I reflect on those early experiences that taught me to reflect upon my own relationship to the people, places, and events I continue to witness as a filmmaker.”

The Memphis-born, Brooklyn-based auteur is an open book in her films, melding the personal and the political. In the grainy Ladies Wear, she photographs Ira on the New York City subway as he applies polish to his nails and sneakers. In 2013’s Your Day Is My Night, she documents a group of Chinese immigrants crammed into a closetlike apartment in Chinatown, where they ponder the differences between their lives in America and their native country and wonder if they made the right choice in coming here; there’s a fascinating kind of intervention when a young Puerto Rican woman moves in with them. In The Small Ones, Sachs shares the story of her Hungarian cousin Sandor Lenard, who during WWII in Italy was tasked with “washing, measuring, and cementing the bones of American dead.” His straightforward narration is accompanied by abstract images of war and slow-motion home movies of children at a birthday party. In 2021’s Maya at 24, Sachs depicts her daughter, Maya, at ages six, sixteen, and twenty-four.

Sachs offers a unique perspective of 9/11 in Tornado (2002), her fingers ruffling through ripped paper that floated across to Brooklyn. In the seven-minute Swerve, artist and curator Emmy Catedral, blaqlatinx multidisciplinary artist ray ferreira, director and cinematographer Jeff Preiss, film curator and programmer Inney Prakash, and actor Juliana Sass recite excerpts from Pilipinx poet Paolo Javier’s O.B.B. in a Queens park; words occasionally appear on the screen, including “free emptiness,” “unknown thoroughfare,” and “hum your savage cabbage leaf.” Investigation of a Flame (2001) explores the true story of the Catonsville Nine through archival footage and new interviews, with one member decrying “the obscenity and the insanity” of the US government’s actions, “which are growing more and more obscene and insane.”

“I’ve been in awe of Lynne’s fearlessness and desire to create, make meaning, rip apart, and piece together,” DCTV Firehouse Cinema director of programming Dara Messinger said. “I see her as the epitome of an indelible artist who is driven by curiosity and empathy — not fame, industry demands, or commercial algorithms. And I appreciate her sincere gratitude to her collaborators and to DCTV, honorably looking back but always steps ahead. Good documentary filmmaking cannot happen in a vacuum.”

“I don’t believe that childhood is swathed in innocence,” Sachs writes in e•pis•to•lar•y: Letter to Jean Vigo (2021), which contains footage from January 6 and Peter Brook’s 1963 Lord of the Flies. In The Jitters (2024), she cavorts with her partner, Mark Street, and three pet frogs and a cat. She takes a revealing look at the patriarch of her seemingly ever-expanding family in Film About a Father Who (2020). In And Then We Marched (2017), Sachs speaks with Sophie D., her seven-year-old neighbor, over archival footage of suffragists and shots of the 2017 Women’s March for equality.

Sachs shares her real to-do lists in A Year in Notes and Numbers (2017) while tracking her cholesterol, bone density, weight, glucose level, platelet count, and total protein. In Carolee, Barbara and Gunvor (2018), she visits cutting-edge artists Carolee Schneemann in New Paltz, Barbara Hammer in New York City, and Gunvor Nelson in Sweden. In an essay Sachs wrote about the four-minute 1987 silent short Drawn and Quartered, depicting a naked man and woman divided into four frames, exploring the tacit nature of the human body, Sachs explained how she felt at the film’s San Francisco premiere: “Within those few painful minutes, the crowd went from absolute silence, to raucous laughter, and back to an exquisite quiet. I was shaking.” You can expect all that and more over these five days at DCTV; below is the full schedule.

Not Reconciled / Lynne Sachs: From the Outside In

Alex Fields
June 7, 2024

For forty years, Lynne Sachs has produced adventurous work at the intersection of documentary, essay, and avant garde film. Though they vary greatly in form, all of her films seek novel ways of questioning dominant perceptions of gender, work, and artistic representation. A career-spanning retrospective of her work, From the Outside In, screens this weekend (June 7-11) at DCTV in New York City and includes approximately two dozen films, from the early 80s to brand new films.

The earliest of these films are interested in our gendered perception of the movements of human bodies. The strongest of these, Drawn and Quartered (1986), uses 8mm film stock in a 16mm projector to display a “split” screen of four frames on one reel of celluloid. The top and bottom rows are identical, but the left and right show difference scenes, initially with a man on the left and a woman on the right. The figures, both naked, engage in a series of ordinary activities: squatting and standing, speaking and gesturing. The quadruple frame, along with the film’s silence, create a choice and push the audience into awareness of where we direct our attention, including how we may interpret the man’s and woman’s body language differently despite their essential similarity.

Other early films employ different devices toward comparable ends. Still Life with Woman and Four Objects (1986) films a woman putting on a coat, peeling an avocado, and so on, but adds a soundtrack seemingly unrelated to the images. A voiceover reads what sounds like a screenplay–“Scene 1. Woman steps off curb and crosses street”–but these actions never occur on screen. Similarly, Fossil (1986) cuts back and forth between video of women performing modern dance and women in a Balinese village working along a river. Both films break down barriers between what we perceive to be scripted performances of art and what we perceive to be mundane performances of work.

Over the following decades, Sachs’s work expanded this interest in representation into an examination of scientific and medical literature. One of her most ambitious and complex works, The House of Science: A Museum of False Facts (1991) assembles a whirlwind collage of texts and images dealing with (pseudo)scientific accounts of women’s physiology and and women’s experience in medical contexts. Women’s efforts to speak for themselves–in poetic written memories or seemingly documentary audio records–are interspersed with supposed expertise speaking for and about them, from Renaissance art to images from science books and documentaries. The sheer variety of source material, combined with the fact that images and sound rarely match, means that the materials are never able to settle into a clear narrative, and instead are presented in their character as representations. The overall effect mimics something of the confusion of a lifetime of contradictions taught to women as demeaning frameworks for understanding their own bodies, with the clarity of lived experience struggling to emerge from among this morass. This is sometimes played as comedy, such as when the laughter of children is played over a patently stupid text describing women’s brains and criminal tendencies.

Questions of meaning and textual representation get a much darker and less playful treatment in The Task of the Translator (2010), named for Walter Benjamin’s essay of the same name. Sachs is arguably less concerned with the problems of translation between two written languages and more so with how one appropriately translates the horrors of war into a journalistic text or art work. In the film’s first section, the voice of a doctor describes the work he did during a war to preserve and present human remains while we watch footage of kids at play. In the second section, scholars sit around a table translating a horrifying article about burials in the Iraq War into Latin. In the third and final section, a radio report describes a woman’s effort to recover the remains of her husband who died in the war, while a laundry machine spins on screen. All of these segments pose an unanswerable question about how the meaning of these wartime texts can possibly be grasped by their intended audience living in an utterly different context.

In a very different way, A Month of Single Frames (2019) also deals with the idea of translation, this time between two artists. A posthumous collaboration between Sachs and Barbara Hammer, the film incorporates reels from an uncompleted 90s work by Hammer with new footage and audio recordings by Sachs. Hammer speaks through her own voice and through her work, and Sachs is implicitly in dialogue through her editing and her own footage. It’s partly a documentary, partly a completion of a once abandoned project, but its real magic is in the present tense interaction of these elements.

Sachs seems drawn to these ambiguous and open-ended forms, even in her more apparently conventional documentary work. Your Day Is My Night (2014) portrays residents in a Chinatown apartment who take turns using the same beds according to their different work shifts. The scenes are poignant, so much so that they begin to feel too perfect, raising the question of how scripted some of this might be, particularly when new characters arrive and introduce themselves without ever noticing the camera. Later in the film it becomes clear that the action is partly staged, even explicitly revealing the set as a literal stage. The film was created collaboratively with its actor-participants, who played versions of themselves and other actual interview subjects in both live and filmed performances, blurring the already soft lines between documentary reenactment and scripted fiction. The film itself emerges as only one document of a process which was, arguably, a more expansive art work in its own right. It therefore frames itself as a contingent and partial view, as interested in the political nature of representation and translated meaning as in the specificity of its subject, raising more questions than it attempts to answer.

See also this interview with Sachs published by my friends at Ultra Dogme.

Vanessa Hope and Lynne Sachs / Filmwax Radio

Ep 807: Vanessa Hope • Lynne Sachs

Frequent Filmwax guest filmmaker Lynne Sachs returns to discuss a retrospective of her work to be presented by DCTV. The series, called “From the Outside In“, runs June 7th — 11th at DCTV’s Firehouse Cinema in Lower Manhattan. 2024 marks 40 years since experimental filmmaker Lynne Sachs took her first video class at DCTV. In From the Outside In, we traverse Sachs’ documentary films, defiant of traditional genre or style. From peering out, collecting others’ experiences and world events, to looking inward, reflecting on familial histories and entanglements, Sachs weaves the political with the personal. Through this seven-program series of screenings and discussions, with Sachs and collaborators in front of and behind the camera, this retrospective celebrates Sachs’ distinctive artistry and groundbreaking career.

40 Years of Lynne Sachs at DCTV / Mystery Catalog

June 4, 2024


By Herbert Gambill

“40 years ago, Lynne Sachs took a video class at Manhattan’s DCTV (Downtown Community Television Center). In the next four decades she made dozens of remarkable films and beginning this Friday, June 7, DCTV will present From the Outside In, seven programs showcasing the variety of her important work with the artist present at each screening. Go here for program and ticket information.

Her films have been influenced (either cited by her or by my estimation) by many great artists and movements: Vietnamese filmmaker and professor Trinh T. Min-ha (whose classes I also attended while at San Francisco State University), Chris Marker (“Sans Soleil”), the dance/film aesthetics of Yvonne Rainer and Meredith Monk, early underground filmmakers like Bruce Baillie, body art performance artist Carolee Schneeman, pioneering lesbian filmmaker Barbara Hammer, American feminist documentary filmmaker Martha Rosler, left politics, the French avant-garde lettrism movement, post-colonial studies, Nina Menkes and much more. She is one of the most important American experimental filmmakers still active today. 

Here are my personal and political notes on ten of her films I viewed or re-viewed recently. All of them are included in the DCTV programs.

Ladies Wear (1983) Lynne and her brother (film director Ira Sachs) both paint their nails while on a subway car. (An ‘80s subway decorated by graffiti; they get off at the Spring street stop.) Themes: NYC, gender, graffiti as a form of public cosmetics. Her first film.

Fossil (1986) In Mambai in Bali, Indonesian female workers dredge sand from the river onto containers they balance on their heads. This is contrasted with a dance performance by Sachs and other dancers as response to the movements of the Bali workers. Mixing the workaday rhythms of laborers with a modern dance interpretation is a tactic she will employ in many of her films. 

Drawn & Quartered (1987) A nude male and female are separated into four quadrants of the film frame. Sachs says this was the year she “first encountered Laura Mulvey’s theory of the ‘male gaze’, seen Carolee Schneeman’s ‘Fuses’, pondered Yvonne Rainer’s ‘Lives of Performers.’”

Investigation of a Flame (2001)  We are in Chris Marker territory here. (And please see his incredible 1977 film, “The Grin Without a Cat.”) Stock footage of the Vietnam War is intercut with the story of the Catonsville Nine. In 1968 Daniel Berrigan and eight other Vietnam War protestors stole boxes of selective service records to a park and burned them with homemade napalm. Sachs interviews the participants, including a female clerk at the selective service office who explains why she felt she failed American soldiers who wouldn’t be relieved by new recruits. A moving exploration of our moral responsibility to confront the foreign policies of our country, no matter the cost to us.

Tornado (2001) A short meditation on 9/11. She folds a torn calendar of September 2001 while explaining how her daughter’s response to the tragedy was to “mourn the twins.”

The Task of the Translator (2010) Inspired by Walter Benjamin’s essay “The Task of the Translator,” this short contrasts the improbable assignment of Latin scholars translating a newspaper story about Iraqi burial rituals with accounts wartime cosmetic surgery and human remains.

The Washing Society (2018) Co-directed with Lizzie Olesker, this 44-minute film is one of my favorites. Workers at a few of the thousands of NYC laundromats talk about their work days as ghosts from an 1881 organization of African-American laundresses in Atlanta reappear. Intimate connections (like the one I have with my local laundromat workers) are being replaced by “super laundries” where conditions are more factory-like. (Recall that a super laundry was atop the meth lab in the TV series “Breaking Bad!”) Required reading: Chapter 10 (“The Working Day”) of Karl Marx’s “Capital: Volume 1.”

A Year in Notes and Numbers (2019) Closeups of to-do notes are combined with test results from her annual physical. This is a beautiful example of making art out of miscellaneous documentation.

E•pis•to•lar•y: Letter to Jean Vigo (2021) What does Jean Vigo’s great 1933 film “Zero for Conduct” have to do with footage of the January 6, 2021 assault on the U.S. Capitol building? When is anarchy good and when is it bad? 

Swerve (2022) I have written about this short film here.

Go here for program and ticket information.

Listen to a new interview with Lynne Sachs on FilmwaxRadio!”

Lynne Sachs: From the Outside In / DCTV Firehouse

Lynne Sachs: From the Outside In
Jun 7 – 11, 2024
Curated by Dara Messinger
DCTV’s Firehouse Cinema
87 Lafayette Street, NYC

2024 marks 40 years since experimental filmmaker Lynne Sachs took her first video class at DCTV. In “From the Outside In”, we traverse Sachs’ documentary films, defiant of traditional genre or style. From peering out, collecting others’ experiences and world events, to looking inward, reflecting on familial histories and entanglements, Sachs weaves the political with the personal. Through this seven-program series of screenings and discussions, with Sachs and collaborators in front of and behind the camera, this retrospective celebrates Sachs’ distinctive artistry and groundbreaking career.

Performing the Real
Fri June 7 at 7 PM
Q&A with Sachs & Lizzie Olesker (co-director of The Washing Society) moderated by filmmaker Sam Green

Eschewing the inherent distance in ethnography and observation, the responsive movement and poetry in this program’s films shine a light on Sachs’ creative impulse to drive collaborative participation and honor the role of catalyst. Special guest:  Paolo Javier (Swerve, poet collaborator).

Fossil, 1986 12 min • The Washing Society 2018 44 min • Swerve, 2022 8 min

Frames and Stanzas: An Artist Talk and Workshop

Sat. June 8 at 12 noon

Pre-registration encouraged.

In this intimate artist talk and workshop, Sachs will share her insights in bridging poetry with cinema. Participants will explore the intersection between moving images and written or spoken words. As part of the class experience, participants will explore their creative practice through writing.

It’s a Hell of a Place

Sat. June 8 at 4 PM

Q&A with Lynne Sachs moderated by Tom Day, Executive Director of Film-Makers Cooperative

A love letter to New York City – when love can also be critical, baffling, sometimes painful. The films in this program all take place in our metropolis called home.

Ladies Wear, 1983 3 min• Tornado, 2002 4 min • Your Day is My Night, 2013 63 min


Sat. June 8 at 7 PM

Q&A with Lynne Sachs moderated by artist Naeem Mohaiemen

Violence begets violence, as protest and resistance begets change. In this program, Sachs’ films dissect war, civil disobedience, and the sociopolitical tides from WWII to Vietnam and today.

The Small Ones, 2007 3 min • The Task of the Translator, 2010 10 min • E•pis•to•la•ry: Letter to Jean Vigo, 2021 5 min • Investigation of a Flame, 2001 45 min

Bodies and Bonds

Sun. June 9 at 2 PM

Q&A with Dara Messinger, Retrospective Curator

Heavy with chains that bind, this program of films magnifies Sachs’ feminist gaze through her personal diaries, family portraits, and women’s testimonies.

Drawn & Quartered, 1987 4 min • The House of Science, 1991 30 min. • And Then We Marched, 3 min. 2017 • A Year in Notes and Numbers, 1987 4 min. • Carolee, Barbara and Gunvor, 2018 9 min. • Maya at 24,  2021 4 min. • Contractions, 2024 12 min • We Continue to Speak,  2024 4 min

Tip of My Tongue + A Month of Single Frames

Mon. June 10 at 7 PM

Q&A with Lynne Sachs and Accra Shepp (member of TOMT cast) moderated by Tabitha Jackson

In A Month of Single Frames (2019, 14 min), Lynne explores filmmaker Barbara Hammer’s experience of solitude. Her text on screen brings them together in multiple spaces and times. In Tip of My Tongue (2017. 84 min.), she gathers together 12 fellow New Yorkers — born across several continents in the 1960s — to spend a weekend with her making a movie. Together they examine the ways in which uncontrollable events outside our own domestic universe impact who we are.

Film About a Father Who + The Jitters

Tues. June 11 at 7 PM

Conversation with Lynne Sachs, Dana Sachs, and Ira Sachs

Film About a Father Who (2020, 74 min) is Lynne’s 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, her 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, she allows herself and her audience inside to see beyond the surface of the skin, the projected reality. In The Jitters (2023, 3 min),  Lynne performs with her partner filmmaker Mark Street, celebrating who they are independently and together.

Direct link to entire program: https://www.dctvny.org/s/firehousecinema/series-and-events/lynne-sachs-from-the-outside-in

“I’ve been in awe of Lynne’s fearlessness and desire to create, make meaning, rip apart, and piece together. I see her as the epitome of an indelible artist who is driven by curiosity and empathy – not fame, industry demands, or commercial algorithms. And I appreciate her sincere gratitude to her collaborators,  and to DCTV, honorably looking back but always steps ahead. Good documentary filmmaking cannot happen in a vacuum.” – Dara Messinger, Director of Programming, DCTV’s Firehouse Cinema

“I walked into Downtown Community Television (now DCTV) in 1984 thinking I needed to take some classes on how to make a documentary film. I was 22 years old and open to any possibility, any guidance, and totally impressionable. From that moment on, I learned to challenge every conventional expectation about working with reality.  It’s an honor to bring these seven programs back to the Firehouse Theater. As I continue to explore the connections between the body, the camera and the materiality of film itself, I reflect on those early experiences that taught me to reflect upon my own relationship to the people, places and events I continue to witness as a filmmaker.” – Lynne Sachs

Individual tickets for screenings are $16, and $8 for DCTV Members. The artist talk is $20, and $10 for DCTV Members. A Series Pass grants access to all screenings for $80, and $40 for DCTV Members – artist talk is sold separately. A special print monograph will be included with the purchase of a Series Pass, and on sale at Firehouse.

Founded in 1972, DCTV (Downtown Community TV) has grown into one of the leading documentary production and film education centers in the country.  In September 2022, DCTV opened the Firehouse Cinema, a documentary theater where filmmakers and film lovers can come together in appreciation of nonfiction film.

Thank you to DCTV, Film-Makers Cooperative, Cinema Guild, and Sylvia Savadjian.

The 19th edition of “Ambulante Documentary Tour” coverage by Centro de Cultura Digital, Periodistas Unidos, Morelia Film Festival, Marvin and Plaza Juarez


La 19.ª edición de «Ambulante Gira de Documentales» inicia su recorrido el 10 de abril en CDMX


United Journalists. Mexico City, March 20, 2024.- On April 10, the nineteenth edition of the Ambulante Documentary Tour will begin with a program of more than 90 films, in which activities and meeting spaces are resumed to strengthen the collective experience that it unfolds from documentary cinema.

The Tour will visit four states of the Mexican Republic  between April 10 and May 26, 2024:  Mexico City  (April 10 to 21);  Veracruz  (May 2 to 12);  Michoacán  (from May 8 to 19); and  Querétaro  (from May 15 to 26). In parallel with the territorial tour of the Tour, part of the  programming will also be available online  for users throughout the national territory through  www.nuestrocine.mx , on the following days of May 2024: from the 2nd to the 5th , 9 to 12 and from 16 to 19.

The programming is made up of more than 90 titles, from more than 23 countries, in 27 languages ​​- of which 7 are indigenous languages ​​-, with 1 world premiere and 14 national premieres. The programming is divided into  nine sections:

  • Pulses  (panorama of the Mexican documentary feature film).
  • Intersections  (international contemporary documentary cinema).
  • Resistance  (with a focus on justice, resilience and the defense of human rights).
  • Rearview mirror  (focusing on films that bring the film archive to life).
  • Sonidero  (in homage to resonances, sound and music).
  • Ambulantito,  (section aimed at children).
  • Invocations (retrospectives dedicated to filmmakers who have marked a watershed in documentary).
  • Graft  (section dedicated to avant-garde cinema).
  • Coordinates  (Mexican films from each region that the Tour visits).

The special program Ecologies of Cinema (works that promote transformations for the defense of the territory), will present the documentary  The White Guard , by Julien Elie, in Veracruz, Michoacán and Querétaro.

In addition to an extraordinary and diverse selection of titles,  during the Tour  there are workshops, conversations, master classes, Q&A, video installation, documentary theater, activations with childhood, projections interpreted in Mexican Sign Language and various mediation processes that seek to provoke changes in the perception of our audiences. Screenings and events will be mostly free.
The nineteenth edition of the Documentary Tour will begin its journey in Mexico City with a program of  78 activities spread across twenty venues .  From April 10 to 21,  screenings, talks, master classes, a video installation, workshops and conferences will be held, two of them dedicated to childhood. Admission will be free to 65% of events.

As part of the special activities of the Tour in Mexico City, the presence of special guests stands out: the American filmmaker  Lynne Sachs,  who will teach the master class “Marcos y stanzas. Lynne Sachs on cinema and poetry” and the practical film workshop “Open the family album”, presented by Ambulante in collaboration with the Experimental Film Laboratory, Kino Rebelde and the Digital Culture Center within the “Cinema Beyond” program »; Also, artist  Nikki Schuster  will carry out the video installation  uprooted , which weaves a collective narrative from testimonies and analysis of voices along the tracks of the Mayan Train: destruction, social division and the loss of Mayan identity. This activity has the support of the Cultural Forum of the Austrian Embassy in Mexico, among other accompanied activities.

The Documentary Tour will present a program of short films by  Marie Losier  and the installation of her  loop boxes , small boxes designed and decorated by herself, which contain three audiovisual works in infinite loop, in collaboration with the French Institute of Latin America (IFAL) , Trampoline Association and Casa del Lago UNAM.

In collaboration with Makesense Americas and TikTok México, we will present “Crisis Cruzadas”, a campaign in which we will bring together ten TikTok content creators to expand the conversation about the climate crisis from an intersectional perspective. Within the framework of this campaign, we will screen a documentary capsule at various functions and some creators will participate in an in-person activity at IFAL.

The inaugural screening  of the Documentary Tour will take place on Wednesday, April 10 at 7:30 p.m. at the Esperanza Iris City Theater. The film Three Promises  will be screened  , where director Yousef Srouji takes up the filming made by his mother during the Israeli army’s reprisals against the second intifada in the West Bank, Palestine. The function will be attended by Marielle Olentine, producer of the documentary. Admission is free and space is limited.

From April 12 to 14, the  Documentary Tour  will offer a selection of feature films that will be screened at Cinépolis Diana and Cinépolis Universidad, through the  Cinépolis® Art Room. For followers of the Documentary Tour , Cinépolis will have the traditional Cinebono, with a cost of $180 pesos for four tickets, as well as a special cost of $60 per individual ticket.

At the Cinépolis Diana venue, during the Ambulante period, the following will be presented:  Peter Doherty: Stranger in My Own Skin  (2023) by Katia deVidas,  Copa 71  (2023) by Rachel Ramsay and James Erskine,  Nocturnas  (2024) by Anirban Dutta and Anupama Srinivasan,  Patrullaje  (2023) by Camilo de Castro Belli and Brad Allgood,  Sr  (2024) by Lea Hartlaub, and  Ch’ul be, Senda Sagrada  (2023) by Humberto Gómez. At Cinépolis Universidad, titles such as  El Eco  (2023) by Tatiana Huezo,  Favoriten  (2024) by Ruth Beckermann,  Inside of me I am dancing  (2023) by Leandro Koch and Paloma Schachmann,  Queendom  (2023) by Agniia Galdanova, and  Malqueridas  (2023) will be presented. ) by Tana Gilbert.

There will be performances accompanied by the presence of filmmakers and protagonists of the documentaries. Among the guests are Emiliano Ruprah de Fina, director of  The Guardian of the Monarchs ; Lynne Sachs, director of  Film About a Father Who ; Johan Grimonprez, director of  Soundtrack for a coup d’état ; Marielle Olentine, producer of  Tres Promesas ; Humberto Gómez, director of  Ch’ul be, sacred path ; and Claudia Ignacio Álvarez, protagonist of  Patrol.  Activists, academics, researchers and artists from various disciplines will also join us.

The venues where activities will take place are: House of the First Printing Press of America UAM, Casa del Lago UNAM, Cultural Center of Spain in Mexico (CCEMx), José Martí Cultural Center, UNAM University Cultural Center, Digital Culture Center, Center National Arts Center (Cenart), Cinépolis Diana, Cinépolis Universidad, Cineteca Nacional, Cineteca Nacional de las Artes, Cine Tonalá, Faculty of Political and Social Sciences UNAM, Faro Aragón, Faro Cosmos, La Cine-Fonda, Le Cinéma IFAL, La Cave, Casa de la Paz Theater UAM, Esperanza Iris City Theater, Underground Paradise.

Ambulante appreciates the support of the Ministry of Culture, the Mexican Institute of Cinematography (Imcine), Ford Foundation, Sigrid Rausing Trust, Ben & Frank, Cinépolis, LCI Seguros, Labodigital, R7D, Cerveza Monstruo de Agua and Fundación Heinrich Böll who contribute to making Tour possible. Likewise, we extend our gratitude to the Secretariats of Culture of the states we visited and to all the sponsors who join their efforts with us, as well as to the different embassies, foundations, headquarters, universities, restaurants, media and all collaborators and collaborators without whom this festival would not take place. Thanks to the volunteers whose invaluable support and dedication have made it possible for the Documentary Tour to reach its 19th edition.

Centro de Cultura Digital

Retrospectiva a Lynne Sachs. Programa de cortometrajes 1


The Cine más allá (CCD) in collaboration with Ambulante and the curatorship of the Laboratorio Experimental de Cine, dedicates a retrospective to the American filmmaker Lynne Sachs, an obligatory reference of avant-garde cinema in recent years, whose work, as personal – sometimes even intimate – as it is political, is characterized by an uncompromising aesthetic search and experimentation, through documentary, essay, collage and a myriad of formal and technical explorations.

This retrospective is grouped in Ambulante’s Invocations section. The section is made up of two programs of short films, one on film and the other on digital, and two feature films.

Short film program 1:
Window Work, 9 min. 2000
Atalanta 32 Years Later, 5 min. 2006
A Month of Single Frames (for Barbara Hammer). 14 min. 2019
Wind in Our Hair/ Con viento en el pelo, 40 min. 2010
And Then We Marched, 4 min. 2017
Maya at 24, 4 min. 2021
A Year of Notes and Numbers, 4 min. 2018
Carolee, Barbara & Gunvor, 8 min. 2018

Lynne Sachs makes films, installations, collages, performances and web projects that explore the intrinsic relationship between personal observation and broader historical experiences by interweaving poetry, collage, painting, politics and layered sound design.

Strongly committed to the dialogue between art theory and practice, in her films she pursues a rigorous interplay between image and sound, pushing visual and aural textures further with each new project. Lynne discovered her love of filmmaking while living in San Francisco, where she collaborated with artists such as Bruce Conner, Ernie Gehr, Gunvor Nelson, Barbara Hammer and Trin T. Min-ha. Lynne’s recent work combines fiction, non-fiction and experimental modes. She has made over 25 films that have screened at the New York Film Festival, the Sundance Film Festival, the Images Festival in Toronto, among others. They have also been exhibited at the Museum of Modern Art, the Whitney, Walker Art Center, Wexner Center for the Arts and other national and international institutions. The Buenos Aires International Independent Film Festival (BAFICI), the New International Film Festival in Havana and the Women’s Film Festival in China have presented retrospectives of her films. She currently lives in Brooklyn, New York and is a part-time lecturer in the Art Department at Princeton University.

Laboratorio Experimental de Cine is a non-profit civil association dedicated to the training, production, curatorship and dissemination of experimental and peripheral cinema. Through collaboration, they promote the moving image and its relationship with other artistic formats to create a cinema that expands and challenges the limits of conventional audiovisual language.


El Cine más Allá del LEC y CCD en la Cineteca y Ambulante


Encounter with other cinematographies: in a huge proposal of movies that will take you out of your comfort zone.

The Cinema Beyond program  of the Experimental Cinema Laboratory , LEC and the Digital Culture Center, CCD expands and reaches the National Cinematheque. Cinema Beyond is a project that presents films that go beyond the traditional formats of film projection and exhibition, seeking exploration and encounter with other cinematographies that are marginal, singular, reckless, committed and experimental.

This April the program begins with a retrospective of Ricardo Nicolayevsky. The program is made up of portraits and personal works of the artist. Nicolayevsky is a reference for avant-garde cinema in Mexico. Most of his works were made in the early eighties in Super8 and 16mm formats.

The Ambulante Festival also adds Cinema Beyond   to its programming and presents a Lynne Sachs retrospective, which includes a master class, talks, the screening of two of her feature films at the Cineteca Nacional, as well as two short film programs and the results of the workshop ongoing “Open the family album” at the Digital Culture Center.

The Cinema Beyond program  brings you artists such as Masha Godovannaya (Russia), Luis Macías (Spain), Mariana Botey (Mexico), Narcisa Hirsch (Argentina), Craig Baldwin (United States), Peter B. Hutton (United States), Saul Levine (United States) and Yevgeny Yufit (Soviet Union-Russia), led by programmers such as Manuel Trujillo, Salvador Amores, Itzel Martínez and Tomás Rautenstrauch.  

Discover the complete  Cinema Beyond programming  on the networks of the CCD @ccdmx and those of the Cineteca Nacional @cinetecanacionalmx , on their website  centroculturadigital.mx and  cinetecanacional.net .

Morelia Film Festival

Ambulante announces the titles that complete its 2024 edition


The Ambulante 2024 documentary tour will take place from April 10 to May 26, 2024 and will visit Mexico City from April 10 to 21, Veracruz from May 2 to 12, Michoacán from May 8 to 19 and Querétaro from the 15 to May 26.

Previously, Ambulante announced the programming of its Pulses and Coordenadas sections . Now, two more spaces are revealed in the four: Ambulantito, Rearview Mirror, Intersections and Invocations. Here we tell you everything about them.


This section of the festival is designed for children and this year’s program is titled “From outer space to the inner world.” For this reason, this edition there will be a live cinema proposal with the interactive kaleidoscopic Observatory, which will function as a celestial vault.
This space will seek to mix cinema from the past with the future to “contemplate the infinitely small and the majestically large.” Mixing sky and earth will invite the discovery of new ways of navigating the world.

The programming will include:

  • Journey to Jupiter , by Segundo de Chomón (France, 1909)
  • Jungle Inside , by Dominique Jonard (Mexico, 1992)
  • Matero and the cinema , by Luis Felipe Hernández Alanis (Mexico, 2014)
  • Zoon , by Jonatan Schwenk (Germany, 2019)
  • The Moon , by Laura Ginès Bataller, Pepon Meneses (Spain, 2020)
  • Tide , by Lucie Andouche (Switzerland, 2023)

We are not prepared to be superheroes, by Lia Bertels (Belgium, Portugal, Spain, 2019)


This section aims to present on screen works from the past that have been publicly or privately archived. The program that will follow this edition is “Look to inhabit”, whose three short films are pioneers of community cinema.
Community cinema has always been of great interest to Ambulante for exemplifying the social power of documentary by being an alternative to “inhabit and face the complex reality.”

The programming will include:

  • Our tequio , from the Assembly of Zapotec and Chinantec Authorities of the Sierra (Mexico, 1981)
  • Murmurs of the volcano , by Valente Soto (Mexico, 1997)
  • Teat Monteok . The story of the God of lightning, by Elvira Palafox (Mexico, 1985)


It is the section in which the great diversity of documentary film forms is revealed, in dialogue with a variety of geographies, contexts and perspectives that cross and redefine the stories of the world.

The section is made up of the following titles:

  • Malqueridas , by Tana Gilbert (Chile, Germany, 2023)
  • Photophobia , by Ivan Ostrochovský and Pavol Pekarčík (Slovakia, Czech Republic, Ukraine, 2023)
  • Favoriten , by Ruth Beckermann (Austria, 2024)
  • Sr , by Lea Hartlaub (Germany, 2024)
  • The Menu of Pleasures: The Troisgros Family , by Frederick Wiseman (United States, 2023)
  • And the king said: what a fantastic machine , by Axel Danielson and Maximilien Van Aertryck (Sweden, Denmark, 2023)


This section brings together retrospectives of the tour. This edition, Ambulante, in collaboration with the Laboratorio Experimental de Cine and Cine Más Allá, dedicates a retrospective to the American filmmaker Lynne Sachs, an obligatory reference in avant-garde cinema in recent years, whose work, so personal—sometimes even intimate — as a policy, it is characterized by an aesthetic search and a less than accommodating experimentation, through documentary, essay, collage and endless formal and technical explorations. The section will be made up of two short film programs, one film and the other digital:

  • Your day is my night , by Lynne Sachs (United States, 2013)
  • Film about a father who , by Lynne Sachs (United States, 2020)

Ambulante is a non-profit organization that seeks to promote documentary film so that people realize its power as a cultural and social tool in Mexico and Central America. It was founded in 2005 by Gael García Bernal, Diego Lunes and Elena Fortes. Its current director is Itzel Martínez del Cañizo.

Plaza Juarez

Meeting Lynne Sachs
Today’s Cinema

Jorge Carrasco | April 16th, 2024


This time we are going to talk about the North American filmmaker Lynne Sachs, who presented a master class in English at the Cineteca Nacional.

One of the special guests at the XIX Ambulante Festival, which has just opened and will continue until May, is the North American poet and filmmaker Lynne Sachs, who presented in English a master class at the Cineteca Nacional, entitled Marcos y estrofas, where They also presented their two feature films.

The writer, born in Memphis on August 10, 1961, spoke about her work that began in 1986 with the short “Still life with woman and four objects.”

She explained that in “Starfish aorta colossus” she illustrates a poem by Paolo Javier with which she would later collaborate and then experiments with translations and subtitles.

In her feature film “Your Day is My Night,” made in 2013, she films a group of Chinese and Latino workers, who live in a small room and long for the family they left many years ago.

The film marked a watershed in Sachs’s career, who stopped traveling to look for subjects and filmed near her home in New York, something that became more acute during the pandemic.

Although she mentions written poetry a lot, this is far from the images presented in her short films, which are limited to illustrating the poems in various ways.

Her cinema is rather experimental, with some short documentaries and essays.

Her other feature film is dedicated to his father Ira. 

Fact: In her feature film “Your day is my night”, made in 2013, she films a group of Chinese and Latino workers, who live in a small room and long for the family they left many years ago.

Invocaciones / Lynne Sachs Retrospective at Ambulante, Mexico City



April 11-14, 2024

Invocations | Lynne Sachs Retrospective

The 19th edition of Ambulante Documentary Tour dedicates this year a retrospective to American filmmaker Lynne Sachs, in collaboration with the Cineteca Nacional México, the Laboratorio Experimental de Cine, the Centro de Cultura Digital and Kino Rebelde. For the first time a selection of Sachs’ work is brought to Mexico, a must-see reference in avant-garde cinema in recent years. His work, as personal -sometimes even intimate- as it is political, is characterized by an uncompromising aesthetic search and experimentation that resorts to documentary, essay, collage and an endless number of formal and technical explorations.

A pioneer of experimental documentary in New York, Sachs’ work takes cinema into the realm of the poetic and beyond reflection. She introduces us to a personal and tireless search; she questions concepts so deeply rooted in the personal, the affective and the political. The border between work and life blurs, disappears and is molded into vital events where the body, death, war and feminism become vivid concepts that the sensitive and critical gaze of the artist questions.

There are many ways to approach Lynne Sachs’ poetics. On the one hand, her contemplation and respect for life allow things to be as they are; on the other hand, she is driven by a radical political action where her voice merges with other voices, where her gaze generates a collective rhythm: the poetic cry that cries out for kinder political places for all. In making the selection of films for the programs, we decided to focus on the theme of the family, as the tension between the biographical and the non-biographical brings us closer to the two main veins in Sachs’ work.

The section is comprised of two feature films: Your Day is My Night, a film that explores the collective history of the Chinese community in the United States through conversations, autobiographical monologues and theatrical pieces; and Film About a Father Who, in which Sachs films his father over 35 years to better understand her bond with him and her siblings.

In addition, two programs of short films are presented: the first is composed of endearing works about people intimately linked to Sachs’ own life, such as Work at the Window, Atlanta Thirty-two Years Later, A Month of Stills, With Wind in My Hair, And Then We Marched, Maya at Twenty-four, A Year in Notes and Numbers, and Carolee, Barbara and Gunvor.

The second program has a filmic character, as it is composed of films that will be screened in 16 mm: Attracted and Divided, The House of Science: A Museum of False Facts, Which Side is East: Vietnam Notebooks, A Biography of Lilit, Photograph of the Wind and The Nerves.

In these programs the political is transformed into a cinema of formal exploration, with no limits to perception. The materiality, which is detonated from the intimate, carries out dislocations from experimentation and critical thinking generates ruptures from the formal. The world is seen through the rhythm of a body moving in circles, as in Maya at twenty-four where the filmmaker films her daughter Maya at six, sixteen and twenty-four years old running in circles around her mother, as if she were propelling herself in time towards the future. Lynne reacts poetically and politically with movement to the systematic and violent territorialization that acts on our own bodies.

Manuel Trujillo “Morris
Experimental Film Laboratory

The retrospective is made up of two programs of short films -one screened in film and the other in digital format-, and the following feature films:

Your Day is My Night | Your Day is My Night | Lynne Sachs | United States | 2013 | Chinese, English and Spanish | Color | 64′.
Several immigrants living in a small apartment nestled in the heart of New York’s Chinatown share their stories of personal and political upheaval.

Film About a Father Who | Lynne Sachs | United States | 2020 | English | Color | 74′.
For 35 years, Lynne Sachs recorded her father to understand the ties that connected her to him and her sisters. She discovered much more than she imagined.

The Filmic Invocations Program consists of the following titles:

Drawn and Quartered

The House of Science: A Museum of False Facts

Which Way is East: Notebooks from Vietnam

A biography of Lilith

Photograph of the wind

The Jitters

And the Digital Invocations Program is made up of the following titles:

Window Work

Atalanta: 32 years later

A month of single frames

With the wind in my hair

And Then We March

Maya at twenty-four

A year in notes and numbers

Carolee, Barbara and Gunvor

Program of activities in Mexico City:

Thursday, April 11

Cineteca Nacional Mexico

17:00 h : Master class : Frames and stanzas. Lynne Sachs on film and poetry.

Lecturer: Lynne Sachs, filmmaker.

19:00 h | Function + Q&A | Your Day Is My Night

Lecturer: Lynne Sachs, filmmaker.

Friday, April 12

Cineteca Nacional Mexico

7:00 p.m. : Screening + Q&A : Film about a father who is a father.

Featuring: Lynne Sachs, filmmaker.

Saturday, April 13

Centro de Cultura Digital

11:00 h | Workshop: Opening the family album*.

By: Lynne Sachs, filmmaker.

*Only for registered and accepted participants.

16:00 h | Function + Q&A | Digital Invocations Program

Participant: Lynne Sachs, filmmaker.

Sunday, April 14th

Digital Culture Center

Day | Invocations

11:00 h | Workshop: Opening the Family Album*.

By: Lynne Sachs, filmmaker.

*Only for registered and accepted participants.

4:00 p.m.: Filmic Invocations Program.

18:00 h | Screening of the results of the workshop “Opening the family album”.

Participants: Lynne Sachs, filmmaker.