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
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.
“For more than thirty years, artist Lynne Sachs has constructed short, bold mid-length, and feature films incorporating elements of the essay film, collage, performance, and observational documentary. Her highly self-reflexive films have variously explored the relations between the body, camera, and the materiality of film itself; histories of personal, social, and political trauma; marginalized communities and their labor; and her own family life, slipping seamlessly between modes, from documentary essays to diaristic shorts.” (Edo Choi, Assistant Curator of Film, Museum of the Moving Image)
Note: The following programs can be rented individually or as a package. A new video interview and between Lynne Sachs and series curator Edo Choi is also available as part of the rental fee.
For rental and pricing information, please contact: email@example.com
All films are directed by Lynne Sachs. Program notes by Edo Choi.
Lynne Sachs in Conversation with Edo Choi, Assistant Curator at the Museum of the Moving Image
Program 1: Early Dissections In her first three films, Sachs performs an exuberant autopsy of the medium itself, reveling in the investigation of its formal possibilities and cultural implications: the disjunctive layering of visual and verbal phrases in Still Life with Woman and Four Objects; un-split regular 8mm film as a metaphorical body and site of intercourse in the optically printed Drawn and Quartered; the scopophilic and gendered intentions of the camera’s gaze in Following the Object to Its Logical Beginning. These experiments anticipate the range of the artist’s mature work, beginning with her first essayistic collage The House of Science: a museum of false facts. Itself an autopsy, this mid-length film exposes the anatomy of western rationalism as a framework for sexual subjugation via a finely stitched patchwork of sounds and images from artistic renderings to archival films, home movies to staged performances.
Still Life with Woman and Four Objects (1986, 4 mins.) –New HD transfer Drawn and Quartered (1987, 4 mins.) – new HD transfer Following the Object to Its Logical Beginning (1987, 9 mins.) The House of Science: a museum of false facts (1991, 30 mins.) – new HD transfer
Program 2: Family Travels One of Lynne Sachs’s most sheerly beautiful films, Which Way Is East is a simultaneously intoxicating and politically sobering diary of encounters with the sights, sounds, and people of Vietnam, as Sachs pays a visit to her sister Dana and the two set off north from Ho Chi Minh City to Hanoi. The film is paired here with a very different kind of family journey The Last Happy Day, recounting the life of Sachs’s distant cousin Sandor Lenard, a Jewish Hungarian doctor who survived the Second World War and was ultimately hired to reassemble the bones of dead American soldiers. Here Sachs journeys through time as opposed to space, as she assembles a typically colorful array of documentary and performative elements, including Sandor’s letters, a children’s performance, and highly abstracted war footage, to bring us closer to a man who bore witness to terrible things. This program also features The Last Happy Day’s brief predecessor, The Small Ones. Program running time: 73 mins.
Which Way Is East: Notebooks from Vietnam (1994, 33 mins.) – new HD transfer The Small Ones (2007, 3 mins.) The Last Happy Day (2009, 37 mins.)
Program 3: Time Passes Twenty years unspool over nine short films: portraits of Lynne Sachs’s children; visits with her mother, brother, niece and nephew; a tribute to the city where she lives; and scenes of sociopolitical trauma and protest. Nearly all shot on super 8mm or 16mm, and often silent, each work is at once a preservation of a moment and a record of change, seamlessly weaving together the candid and the performed gesture, the public and the private memory, in a simultaneously objective and subjective posture toward the passing of time. Program running time: 51 mins.
Photograph of Wind (2001, 4 mins.) Tornado (2002, 4 mins.) Noa, Noa (2006, 8 mins.) Georgic for a Forgotten Planet (2008, 11 mins.) Same Stream Twice (2012, 4 mins.) Viva and Felix Growing Up (2015, 10 mins.) Day Residue (2016, 3 mins.) And Then We Marched (2017, 3 mins.) Maya at 24 (2021, 4 mins.)
Program 4: Your Day Is My Night 2013, 64 mins. “This bed doesn’t necessarily belong to any one person,” someone says early in Your Day Is My Night. It could be the metaphorical thesis of this film, perhaps Lynne Sachs’s most self-effacing and meditative work. A seamless blend of closely observed verité footage, interpretive performance, and confessional monologues and interviews, the film doesn’t document so much as create a space to accommodate the stories and experiences of seven Chinese immigrants from ages 58 to 78 who live together in a “shift-bed” apartment in Manhattan’s Chinatown. Sachs’s quilted sense of form achieves a new level of refinement and delicacy in collaboration with her cameraman Sean Hanley and her editor Amanda Katz, as she works with the participants to exhume a collective history of migration and struggle.
Program 5: Tip of My Tongue 2017, 80 mins. Sachs’s richly generative Tip of My Tongue finds the filmmaker responding to her 50th birthday by gathering twelve members of her generational cohort—friends and peers all born between 1958 and 1964, and originating as far as Cuba, Iran, and Australia—to participate in the creation of a choral work about the convergent and divergent effects history leaves upon those who live it. From the Kennedy assassination to Occupy Wall Street, the participants reveal their memories of, and reflections upon, the transformative experiences of their lives. Set to an ecstatic, pulsing score by Stephen Vitiello, the film interweaves these personal confessions with impressionistic images of contemporary New York, obscured glimpses of archival footage, and graphically rendered fragments of text to create a radiant prism of collective memory. Preceded by Sachs’s frantic record of accumulated daily to-do lists, A Year in Notes and Numbers (2018, 4 mins.).
A conversation with the US filmmaker Lynne Sachs about the importance of the autobiographical in her films
From the beginning of your career as an artist and filmmaker you were in one way or another present in your films: as a body, as a voice, or with certain‚ chapters’ of your own (family) history. Why was this personal or autobiographical approach important to you, why is it still relevant?
Presence in a film comes in a variety of forms. When I used to cut the actual film footage with a guillotine splicer, I felt that my finger prints on the celluloid were the beginning of my engagement with both the celluloid material and the moment that it signified through the images I had collected with my camera. Of course, that haptic connection has now disappeared with the intervention of the digital. Still, in our current time, every image or sound that you collect, be it your own or a found one, is a document of a thought. During the first decade of my filmmaking practice, almost every film I made included some image of my own body, sometimes clothed, sometimes not. It almost became a joke in my family. ”Oh, there she is again!” But, for me, this was a way to subvert the subject/object paradigm of the camera. I needed to flow back and forth, as if through the mechanism of the lens itself. The presence of my body paralleled the presence of my words, whether experienced aurally as voice-over or on the screen through my hand-written gesture. Today, we all recognize the inundation of media in our lives. With the sensation of feeling this material as either an assault or caress (depending on your mood as you scroll through your cell phone just before going to sleep at night), each of us must find a way to register awareness and critique.
Although you choose a personal approach, you represent yourself (and others) more in a fragmented way than as ‚authentic’ characters. What is the idea behind this?
Seeing my work through your eyes is a revelation, actually. I would not have articulated my approach this way, and yet I completely agree with your assessment. I have never identified with storytelling and, in turn, the effort to create a character. This homage to narrative tradition I find reductive and limiting, in the same way that I would find writing a conventional feature film script to be deeply restrictive. One of the words I despise most in today’s parlance is the word “template”. When I discovered that there are templates for writing feature film screenplays, I felt like weeping. When one uses the word “personal” to describe their work, I think they are claiming ownership for all aspects of the creative process, from the structure to the content. Yes, I do feel an affinity for a more fragmented depiction of another person because I want to make clear that my ability to understand is determined by my point of view. These fissures give someone watching the film the possibility of providing the glue, the connections, the linkages that always circle back to their own life experiences.
How do you deal with the double position of being the author and the figure of your films at the same time?
Sometimes I make films that are very clearly an outgrowth of my own identity as a white Jewish woman born in the United States in 1961. I can’t change any of that and I can’t simply hide one part and flaunt another. Other times, I make films that don’t make those ingredients so apparent, even though they are always there. Even when my voice, my writing or my body are not there, we all know that my position is influencing every decision I make, how person is framed, how a sound is heard, which music is included, which images are given the space to thrive and which are punished for their very existence.
When speaking about her autifictional novel The Cost of Living, the British writer Deborah Levy characterized her literary (female) subject as a person who is not herself, but who is ‚close’ to her. Who are you in your films?
Deborah Levy’s sense of her own presence in her work is very intriguing, even candid. This reminds of a cultural theory observation by filmmaker, poet and teacher Trinh T. Minh-ha in her essay “Speaking Nearby” (1992) which I quote here:
“There is not much, in the kind of education we receive here in the West, that emphasizes or even recognizes the importance of constantly having contact with what is actually within ourselves, or of understanding a structure from within ourselves. The tendency is always to relate to a situation or to an object as if it is only outside of oneself. Whereas elsewhere, in Vietnam, or in other Asian and African cultures for example, one often learns to “know the world inwardly,” so that the deeper we go into ourselves, the wider we go into society.”
Trinh was a professor of mine in graduate school. I am convinced that her practice of transposing her understanding of herself to her earnest, but always recognizably incomplete, effort to project on others had an enormous impact on my work.
In your films about family members like your father in Film About a Father Who (2020) or The Last Happy Day (2009), which tells of a distant cousin of yours, you sometimes seem to dissolve as the authorial voice, or to put it another way, you pass on your voice – for example to your siblings or children. Is this also a form of giving up some of the power that one has as a narrative authority?
Hmmmm. This makes me think very hard about my process. That’s what a good interview does. Thank you for giving me this chance to be introspective. On one level, I am very committed to a non-hierarchical way of working, one that does not privilege my perspective over another person’s. On another level, perhaps I am ashamed of expressing my thoughts or feelings in a singular voice so I depend on others to prop me up. Both of these films are part of a triptych of films, the third of which is States of UnBelonging (2005). The intention with this three-part endeavor was to grapple with the ways we can and cannot understand another human being. States of UnBelonging looks at a woman in Israel-Palestine who was total stranger to me. The Last Happy Day is a fragmented portrait of a distance relative, so one degree closer, in a way, to me. Film About a Father Who is, obviously, about my dad. That was supposed to be the easiest, and ultimately it was the most difficult. Closeness and intimacy somehow became an obstacle. I end up relying on others to give me clarity.
In A Month of Single Frames, your film with images, sounds and notes by the now deceased experimental filmmaker Barbara Hammer, I was very taken with your expanding the First Person Singular. What gave you the idea of this grammatical shift?
Oh, I am thrilled to be talking about voice, language and grammar all in one question. In A Month of Single Frames I decided that I would use the expanded Second Person that includes an ambiguous “you”. It could be the “you” that we usually find in a correspondence with another person. Or, it could be the “you” that embraces all of us in one sweeping address. When I write the word you, the viewer might think I am talking to Barbara Hammer, who is no longer alive but through cinema can be included in this dialogue. Or, the viewer may feel that I am addressing them. It’s kind of wonderfully unclear, which might be an accident or might be intentional. I will never tell.
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
(On Screen text by Lynne Sachs from A Month of Single Frames)
For some time, personal or autobiographical narratives are strongly present in documentary filmmaking. How would you explain the strong interest in the personal in these times?
My interpretation of this current enthusiasm for the personal narrative has to do with our interest in knowing who is speaking to us. So much media in our lives is delivered to us without this clarity of positionality. We are forced to discern and to guess how who someone is affects what they are saying to us. Maybe it is refreshing to have this kind of transparency.
One of the special focus strands of the Sheffield Doc/Fest online programme in 2020 was the experimental documentary filmmaker Lynne Sachs, who has an extensive body of work across a number of different documentary interests. I watched two of her films out of the handful made available (some of the rest are still online for festival attendees, so I am determined to catch up with them), and present reviews below — or, maybe I should say, more impressionistic observances as I cannot claim they are as deeply considered as I would like.
The Washing Society (2018) This isn’t a long film, clocking in at about 45 minutes, but it’s a curious blend of documentary and staged fiction. It films a number of New York laundromats, showing their working environments and including some comments by a number of the workers. However, it starts with a Black woman speaking an historical text and then places her in the space of a laundromat opening for the day, and throughout the film her presence functions as a sort of historical commentary making clear the racialised nature of this work, which is somehow so intangible and invisible to so many people. As the film progresses, the testimonies start to become more like monologues, rather more clearly delivered by actors, itself eventually seguing into a musical performance piece on the machines themselves.
CREDITS Directors/Writers Lynne Sachs and Lizzie Olesker; Cinematographer Sean Hanley; Length 44 minutes.
Seen at home (Sheffield Doc/Fest Selects streaming), London, Saturday 4 July 2020.
The Last Happy Day (2009) I find it sometimes very easy to criticize documentaries for following a standard talking heads format, but of course Lynne Sachs doesn’t even approach anything resembling the clichés of the form. This medium-length piece does, however, use occasional on-screen captions to contextualize her story of a distant relative, the Hungarian Jew Sandor Lenard (aka Alexander Lenard), who fled shortly before the outbreak of World War II and eventually found himself in Brazil, where he undertook Latin translations, including of Winnie the Pooh (sorry, Winnie Ille Pu). That said, her experimental practice means that it’s difficult to pick out everything that’s going on here, and I imagine wider viewing of her oeuvre would help more in that respect, but there seems to be an idea of the painful ruptures of war and exile being healed at least somewhat by language, or perhaps the idea of translation (given that the language in question is hardly a widely shared one). It’s a family story, too, so children in Sachs’ own family appear on screen to read Lenard’s letters or comment on them (very eloquently, given their age). These are ideas that come out, not inaccessibly, but in a dense mixture of text and image and voice.
CREDITS Director Lynne Sachs; Cinematographers Sachs and Ethan Mass; Length 38 minutes.
Seen at home (Sheffield Doc/Fest Selects streaming), London, Tuesday 21 July 2020.
Lynne Sachs is an extraordinary filmmaker with a distinct and unique approach to documentary filmmaking. Each one of her films is an exploration into a secret hidden world as well as an experiment with the medium of visual storytelling. Currently, the Sheffield Documentary Film Festival is running a ‘Directors in Focus’ showcase of Sachs’ work where you can catch pieces like “Your Day is My Night”, “The Washing Society” and her latest film “Film About a Father Who”.
It’s been a real delight to explore Sachs’ work as part of the festival and when the opportunity arose to speak to Lynne personally, I jumped at the chance. Here’s our interview where we discuss how she approaches documentary filmmaking, her friendship with Barbara Hammer and the art of editing.
Bianca: Hello Lynne, lovely to chat to talk. I just want to say how much I’ve enjoyed exploring your work as part of the Sheffield Doc Fest “Directors in Focus”, you have such an unique approach to filmmaking. I find it to be this unusual blend of traditional documentary style filmmaking meets the avant-garde artistic style of filmmaking of allowing imagery and sound to tell the stories. How did you develop this approach and style of filmmaking, and what was it about documentary filmmaking that appealed to you as a filmmaker?
Lynne: I’ll guess I’ll start by admitting that I don’t even know if I would be able to make a traditional documentary, that might be because of when I invest myself into an investigation or a story I take such a deep dive and I am always looking for a visual or an oral method by which I can comment on that particular theme in a way that hasn’t been done before. Sometimes it’s the topic that guides me.
The more conventional approach would be to have a template or a formula or maybe even a time-limit like 58 minutes so you would have time for the commercial breaks, then you would take your subject and frame it by those expectations. However, that approach never really interested me and I wonder whether I have the skill or the commitment to do that style of filmmaking.
My desire to work in the documentary realm came from a convergence of the love of art and the love of politics. My background was as an undergraduate in history, I never expected to be an academic historian but it feeds my way of thinking. I wanted my creative juices to fly but the limitations of being a historian weren’t appealing to me.
Bianca: Did you always strive to have a personal connection with the people and the subjects you film?
Lynne:It’s very important to me to have a complex relationship with the people in my film, just like the one I would have normally with a friend. It takes work, and often in the field of filmmaking there’s the sense of jumping in as quickly as possible then leaving. You actually leave with this gift: the interaction you had with the people you filmed. You then own that gift, but those people don’t have that anymore. I think the whole process has to take a whole circle where you work to find the right participants for your film, you work on that film and then you come back to them after completion and during distribution.
With “Your Day is my Night” we worked on that film for a couple of years and it became a live performance and I was bringing the people from Chinatown, to places in New York City where they hadn’t been before. I was organising cars for them as they were older people and we couldn’t expect them to travel via Subway. I wanted them to experience that pleasure, and two years after we had finished shooting we took the film and the live performance to a public library in Chinatown where we had an afternoon matinee where all of their friends came.
It was actually quite a sad moment because one of the participants in the film had died since we made the film, so when his face came up in the film everyone in the audience started crying. So, it was a memorial for him in a way. There are ways films can function outside the function of building your career or taking you to film festivals. I really feel committed about the idea of having movies been shown on all different kinds of screens.
Bianca: People often overlook the importance of sound and audio infilmmaking because film is a visual medium. What I find fascinating about your films is that often the audio doesn’t always match up to what’s being depicted on-screen. I think this is brilliantly showcased in your latest film “Film About a Father Who” where we see one version of your father being shown but the narration is discussing a different aspect of his character.
Lynne:I just want to touch on something I hadn’t thought about, the formal connection between the way you understand a human being and the way that film works, and how you process what you see and what you later discover. I think that’s very particular to this medium. We have this notion that the visual and the sound should be married but we all know that marriage is just an agreement that can fall apart. It’s through that use of ‘falling apart’ where we begin to see that what something appears like isn’t actually what it is in reality, and we build in doubt.
I think doubt should be a part of any filmmaking experience, whether you’re talking about fiction or non-fiction, do we believe the ideology that is intact. If you’re a doubtful viewer in any way then you start to engage with it in a deeper way, you start to question everything and as a result you become more intellectually engaged. What I wanted to say about “Film About a Father Who” that there were times where maybe I was uncomfortable in a situation where I did have doubts, but I wanted to believe that things were more acceptable than they actually were and worked with how I thought a father should be.
If you think about the foundations of who we think we are as children and the notions of how we fit into that micro community it’s usually pretty transparent. However, maybe that’s no longer the case today. I used to think my family was very atypical, but now that I’ve screened the film quite a lot of people have either come up to me or written to me to share their own experiences. I think our notions of family are now more evolved than how it was when I was a kid.
Since making the film I’ve been able to have some really profound conversations with those who have watched it. Whether or not it’s your mother or father who have secrets it’s their way of protecting themselves, but it also leaves an imprint on us and we’re left with a sense of confusion about how we’re supposed to process this new information and emotions.
Bianca: The impression I got from your film was that this was not only a self-discovery for you but also a self-discovery of who your father is. It was a self discovery of a family too.
Lynne: It took me a year of going through all the videos and super-8 films and I realise I had a lot of content about my father. The traditional approach to documentary filmmaking is that you take all the footage and make a character so people leave the movie thinking they really know that person. I thought about whether that was what I really wanted to do, as what I was really interested in was the interrelationships between people and the way we yearn for a part of our parents in ourselves and how we are always looking for stability. I know I have very distinct relationships with my parents and I value that in its own way.
Bianca: What’s something you want the viewer to take away from “Film About a Father Who”?
Lynne: I’m very interested portraying the layers of expression especially in terms of being a woman, that include your anger and your rage as well as your ability to integrate forgiveness because I think it’s very hard to go on living your life if you hold onto the pain of your own rage. Forgiveness isn’t about saying that something didn’t happen, there are parts in my film where I realise that I’ve become very good at training myself to have forced amnesia. If you can find forgiveness and realize that the person who hurt you or made mistakes, made those mistakes because of the things they went through themselves that can help you move forward.
I am also interested in showing my family’s story so others can investigate their own stories. I showed the film to a group of fifteen men in their 80s who were in a fraternity with my father and all idolised him. After the film, they said to me that they wished their daughters had made a film about them which surprised me. I think it was because the film elevated my dad to a full person and his entire life was told. He came to the premiere in New York and he was happy with the film. And he’s told me that he wants to do better in the future.
Bianca: Another recent film of yours is “A Month of Single Frames”, a beautiful collaboration with the late filmmaker Barbara Hammer. How did that film come around?
Lynne: I met Barbara in the late ‘80s as we were both in San Francisco during that time. At that time and well into the 1990s, San Francisco was a mecca for experimental filmmakers. I think that’s the place where my style really evolved as it’s not a commercial film centre like New York or Los Angeles. There was a place called the Film Arts Foundation where you could go and learn different skills or edit your films on a 16mm flatbed and Barbara was there teaching a class. I took a weekend class with her and we hit it off! We became friends and both ended up moving to New York City.
Twelve years ago, Barbara found out she had ovarian cancer. She was going through chemotherapy and we would take meals to her and talk to her. She actually lived a lot longer than she thought she would. During that time we became deep friends, and I think she appreciated that me and my husband (Mark Street) were not intimidated by the word ‘cancer’. She asked Mark and me to make a film with the material she gave us when she saw her life coming to an end.
When she gave me the footage she hadn’t told me she’d also kept a journal. Her health was declining but she was quite active in terms of filmmaking in her last year, so I had to squeeze in my visits with her between chemotherapy and her trips to the Berlin Film Festival for a premiere of a film she made. And, when she went to Berlin in 2018 she lost one of her vocal chords so when we were recording her narration for the film we had to use an amplifier. What’s amazing about making a film is that it’s a sustained experience and a gift with that person you’re collaborating with. It was also a gift in the sense that we could share all that time together.
Barbara passed away in March 2019, and I’d hadn’t yet written the text you see in the film. I really wanted a way so you could dive into the film on a personal level, and on a level where I could be talking to her, the audience, the Earth, to the future and to anyone who could be watching the movie. What’s so specific about film, that it can transport you back in history but can also propel you forward in time too. I wanted there to be an active presence which is why I talk to the audience.
Bianca: That’s what is so special about “A Month of Single Frames” is that feeling of conversation between you, the audience and Barbara. In the way it felt like therapy and a precious way of capturing someone’s memory.
Lynne: We think of film as a closed system where you enter it but you don’t affect it although it may affect you in a psychological way. I wanted that system to be more open, the screen is no longer a closed system.
Bianca: Do you think we’ve lost something special about the art of shooting on film compared to how we now seem to shoot everything on digital, especially in terms of the craft of editing?
Lynne: It’s funny that you mention editing because it made me recall Dziga Vertov’s “The Man With a Movie Camera” because many people believe that the director’s wife (Yelizaveta Ignatevna Svilova) really made the film, I believe her work helped give the film it’s rhythm. There’s an image of her in the film where she’s sat at the editing table and she looks like she’s sewing. This image reminds us that analogue film was constructed in a method that was very identified with women. There has been a revived interest in the materialistic qualities of the medium and the fact you can go from something three-dimensional to something two-dimensional.
In terms of my own filmmaking, “Which Way is East” was shot all on film and so was “A Month of Single Frames” and “The Last Happy Day” was digital and film. It’s a real mix. In terms of the images I shoot on Super-8 and 16mm, well I just like them better. Digital can be so pristine. There’s a sense of physicality to analogue film. Sometimes you see a strand of hair or dust, and that’s part of the real world that we’ve left behind like a fossil.
“Film About a Father Who” is to be screened in Sheffield in Autumn, and online on Sheffield Doc/Fest Selects in parallel. The Filmmaker Focus- retrospective films are streaming now in the UK and their accessibility has been extended through August 31st.
Sheffield Doc/Fest Director, Cíntia Gil is joined by director, Lynne Sachs to discuss her films and to take questions from the audience for a live Q&A.
Filmmaker Lynne Sachs, in conversation with Festival Director Cíntia Gil, discuss 5 films that form her Director’s Focus within the Ghosts & Apparitions strand and her upcoming international premiere of Film About A Father Who which screens as part of Doc/Fest in October. Lynne Sachs’ films explore the notion of translation as a poetic and political tool for widening the world. Together with the focus, Doc/Fest presents Sachs’ video lecture My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World, a fascinating journey through her themes and work.
Her films are currently available to watch on Sheffield Doc/Fest Selects and Doc/Player through August 31, 2020:
The Last Happy Day, 2009, 37’ Which Way Is East: Notebooks from Vietnam in collaboration with Dana Sachs, 1994, 33’ Your Day Is My Night, 2013, 64’ The Washing Society, co-directed by Lizzie Olesker, 2018, 44’ A Month of Single Frames, made with and for Barbara Hammer, 2019, 14’
Lynne Sachs has always eluded easy labeling. Since her first short films in the late ’80s — the black-and-white character study Still Life With a Woman and Four Objects and the Laura-Mulvey-inspired observation on gendered bodies that is Drawn and Quartered — she’s eschewed traditional film grammar. She’s focused instead on capturing gestures, inches of skin, fragments of conversations, casual moments in time, personal memorabilia, and weaving them into unexpected patterns. This year, Sheffield Doc/Fest has celebrated Sachs with a long-overdue retrospective.
A recurring theme in Sachs’s filmography is the elliptical tension of translating spoken language into visual language. From her video travelogue of two clashing cultures in Which Way Is East: Notebooks from Vietnam (1994) to the visual haiku of Sound of a Shadow (2010), she grounds her work in using aesthetics to decipher how people communicate. For Sachs, translation is frequently as much a vessel for encountering others as it is a tool to mold her films’ forms.
Two titles in the retrospective use this approach to give voice to the marginalized. The Washing Society (2018) documents both the contemporary and historical invisible labor in New York City laundromats, mostly performed by Black and brown women. Their repetitive gestures are performed in tempo to the words of the Atlanta black laundresses’ manifesto of 1881, and their unappreciated work is eventually exalted by artistic performances in the laundromats. Similarly, Your Day is My Night (2014) steps into the overcrowded apartments of immigrants in New York’s Chinatown. Their beds and common rooms are turned into stages on which they recount their pasts and talk about their current experiences. Sachs sublimes the personal into the theatrical.
Translation is more directly approached in Which Way Is East. Visiting her sister Dana in Vietnam, Sachs acts as both an outsider enchanted by the unfamiliar (while trying to avoid succumbing to Orientalist tropes) and a displaced explorer. She does not perceive her inability to speak Vietnamese as a barrier, even though communication would be arduous without Dana acting as an interpreter. Meanwhile, the peculiar The Last Happy Day (2009) explores the intricacies of the Sachs family genealogy. Sachs and her daughters peruse the letters of a distant cousin, Alexander Lenard, trying to piece his life together. The result is a fragmented series of floating imagery which gradually coheres into a portrait of an interesting man, a doctor who fought World War II and later translated Winnie the Pooh into Latin.
Sachs’s mentor and friend Barbara Hammer inhabits A Month of Single Frames (2019), her moving tribute to the late filmmaker’s work and inspiration. Some of Hammer’s personal materials were given to Sachs with absolute freedom regarding what form they would take in her hands. With fondness, she merges 16mm film shot by Hammer during an artist residency at Cape Cod in 1998 with a 2018 recording of Hammer reading excerpts from her journal. On-screen text sporadically appears to further dialogue with the source material, and perhaps Hammer herself as well. It is cinema as a conversation between generations, and between the living and the dead. Translation is not merely a utilitarian mediation for mutual understanding, but also a political act. Sachs embraces variegated renditions of filmic language, recording the world, digesting it, and offering it to viewers in its performative beauty.
Premiering Lynne Sachs’ latest feature, A Film About A Father Who, Doc/Fest 2020 has taken the opportunity to curate a few of the director’s most intriguing films. Spanning over decades of empathetic, experimental filmmaking, Festival Director Cintia Gil mentions that the overarching theme of these works is “translation”. Sachs elaborates that while her films often feature other countries and languages, the experience isn’t meant to feel seamless, but instead explore the sense of dépaysement, of being out of your own comfort zone, and revelling in that unfamiliarity and curiosity.
Which Way is East (1994) In which Lynne joins her sister Dana in Vietnam, and documents their travels north. Primarily she is connecting with the country: eating copious amounts of fruit, bonding with friends and strangers alike, examining the damage left behind from the war. There are layers beyond the direct translation of Vietnamese as peppered throughout are proverbs, which connect with the discussions and reveal how cultures perceive life differently. On another level she’s reconnecting and collaborating with a sister who she’s been separated from, and building a bridge between her own fictional, creative inclinations as a filmmaker and her sister’s political, non-fiction perceptions as a journalist. At 33 minutes, it feels like a whirlwind, footage zooming past on the roads, but one that really feels shared by all who feature in it.
The Last Happy Day (2009) This title is a quote from letters received by Sachs’ uncle referring to the day before the outbreak of WWI, marking a shattering of naïvité and the start of a century of disillusionment. In an incredibly liminal and fascinating piece of exploration, Sachs’ children tell the story of Sandor Lenard, a distant Hungarian cousin who fled a small town in Germany in 1938.
Surrounded by death as he worked for the US to identify the broken bones of soldiers, his later project is intriguingly different: the translation of Winnie the Pooh into Latin. A so-called dead language, that he said best expressed dread, was applied to the philosophical exploits of children’s characters. Having watched many young men become soldiers, seeing Sachs’ kids interpret his letters and his translation brings out a deeper meaning within them. It’s a patchy portrait of a mysterious man that brings about a sense of existential crisis and a permanent exile from security.
Your Day Is My Night (2013) My personal favourite, a window into the world of Chinese immigrants in New York City, who rent “shift-beds” in order to afford to live and work there. It’s a carefully orchestrated blend of performance art to highlight the nocturnal, upside-down lifestyle and monologues perfected to best tell the stories of each inhabitant. One stand out is Huang, a wedding singer who lives with his father, who shares his unique passions and fears. It is a tactile, emotional approach with many dimensions that helps the viewer begin to comprehend these experiences, and brings this hidden side of the city to light.
The Washing Society (2018) Co-directed with playwright Lizzie Olesker, this team effort is the culmination of a performance piece named ‘Every Fold Matters’, detailing and valuing the efforts of laundry workers. This film is named after the original Atlanta Washing Society of 1881, where thousands of African American laundresses unionised and demanded better pay and agency over clients. This revolutionary spirit is carried on, as the film juxtaposes three actresses with three workers, folding and carrying thousands of garments a day, unappreciated and undervalued. Through the combination of conversation and performances, the intimacy and volume of their work is brought to light.
A Month In Single Frames (For Barbara Hammer) (2018) As filmmaker Barbara Hammer was undergoing chemotherapy, she gave certain filmmakers free reign with her unpublished work. In this case, Sachs plays with the footage taken on Hammer’s month long residency at Cape Cod. Particularly hypnotic are past Barbara’s meticulous and beautiful attempts to capture new colours in the sun, the sea and the sand, and the spontaneous originality with which she saw the same cabin and its surroundings. Here the translation is very much inter-generational, as Hammer reads from her journal at the time, and we overhear discussions between the two. Sachs revisits this time of creativity in an organic way and carefully scrapbooks it into a philosophical homage.
Note: this particular film makes a beautiful double bill with Lynne Ramsay’s Brigitte which will be out on Doc/Fest Selects in the autumn. She profiles a prolific portrait photographer, trying to see what Brigitte sees in her subjects, and turns that mirror towards her own life and approach to art.
Full film available as part of Doc/Fest Selects here.
Throughout all these works, the partnership between Sachs and her subjects shines. Often she remains in contact with them, continuing to campaign alongside them. The collection boasts celebrating “translation as a political and poetic tool” and through this glimpse into her career, it is clear that the bridges she builds last. By the end of her films, it feels like both an honour and a necessity to inhabit these spaces and listen to these stories.
When Lynne Sachs agreed to meet me on Skype, I was equally excited and nervous: excited, because I had just seen several of her movies, which left me feeling like I had entered a whole new world of visual and verbal language. Nervous, because her knowledge and experience in experimental/essay/documentary cinema were vast compared to mine. Nevertheless, we agreed on a meeting and it was one of the most honest and inspiring conversations I have had on film. I began the conversation by briefly introducing myself. I am a PhD student in a biology lab, where I often conduct experiments. Perhaps that is why I’m so drawn to experimental film, especially Lynne’s work.
Lynne Sachs: What you do in your lab – which is to dive into the unknown by using materials you understand, without knowing what will happen when they come together, without a script for what the results will be – shares something with experimental filmmaking. Although, as you might already know, Jonas Mekas didn’t like the term experimental. It is kind of like saying you’re an atheist, meaning you define yourself by what you’re not, so I understand, he just says: “I make films”.
Tijana Perović: Do you feel ok with the term experimental?
I personally do. I think it turns the noun into a verb because it says that the entity itself is devolving and can’t be made from a template. I like it and I think it’s liberating.
How did you get into filmmaking?
I definitely didn’t grow up watching personal art films, made by women. I hardly knew that women were making movies. But I always have written poetry and I always did a lot of art. In university, I pursued something that you might call more academic. I was a history major, but I did a lot of studio art. So in that time, when I was at university, I took a year, I went to Paris and I discovered Chantal Akerman and Marguerite Duras. This changed me. I realized that you can make films from this place of experience, or you can bring your attention to the small things in life. You could also bring in some politics or a change for women, etc.
In a sense, I got a chance to see that a film could be a vessel and that you could throw whatever you want into it and make your own recipe or idea. That was really exciting to me and a revelation. After college, I moved to New York and I started taking classes in Super 8 and video. I ended up going to graduate school in San Francisco. That was such a transformative experience, because there were so many people there.
You know Gunvor Nelson’s films? Gunvor was a teacher of mine. In fact, Carolee Schneeman, Gunvor Nelson and Barbara Hammer were all living in San Francisco at the time. Such powerful women. Powerful in a poetic way. Do you know George Kuchar’s films? They are very rowdy and irreverent. Craig Baldwin was also there. He is a filmmaker, quite renowned, almost all of his work is made from found footage. But he also has a small, still existent, screening space, called Other Cinema. It is just like a store front. And I spent almost every Saturday there, from 1987 to 1994, and that’s actually where my husband Mark Street and I met. It was a scene and that’s how I educated myself on film. I was not the kind of person who stayed up watching all the famous fiction films on TV until midnight. I hadn’t even seen Citizen Kane until I was in my mid-twenties. Now I am interested in all of film history, but that is not what brought me to this kind of filmmaking.
Funny that you mention that, because I just watched Jeanne Dielman 10 days ago.
I actually was thinking about Chantal Akerman, two days ago, because of our quarantine. Have you seen her film Là-bas (2006)? She went to Tel Aviv, to do some teaching there. It was during a very heightened period of violence, in Israel/Palestine, so she made the whole film from her window. To me, it’s very timely to think about the window as a frame in its relationship to the film frame. The thing about long films like Jeanne Dielman is their stature. You need to spend almost four hours with her film. But think about a book. When you read a book, you need to spend two weeks with it! Four hours really shouldn’t be a big thing.
What is really interesting for me in your movies is that in each one of them there is an idea, but it flowers, it grows. In your experience, how does this idea change during the process of actual moviemaking and in editing?
Sometimes when I make a film, it starts with the material. Is there any particular film on your mind?
Then I’ll talk about The House of Science. That actually started with the collages which are in the movie. It started with the idea that I felt alienated from my own body. And I probably felt that way for most of my life, maybe until I had a baby. I wanted to move through the world almost invisibly. I don’t think that if I were 30 today, I’d make the same film. But in 1991, I felt frustrated with how my culture was constructing me. Not with the feminism, 1st wave, 2nd wave – rather as I moved through the culture and I felt this alienation from the world of science. But then it became an equal distaste for art, while I was making it. So, that was a film where I said, any idea that comes to my head will go into the film. I called it a yes film. That film is a film essay. What defines a film essay is that you are at ease with including your doubt.
So you have this idea, and it is kind of a manifesto, but it isn’t really a manifesto because you are always second guessing yourself. In a sense, you have to have more confidence in what you say by including your doubt. If you didn’t, then it would be dogma or didactic. That film really came out of an idea. Did you see And Then We Marched? It is a super short film I made after the women’s march. I didn’t have a particular idea. I had collected Super 8 film from the 2017 Women’s March, and I wanted to do something with it. I didn’t want to just document it because I thought a lot of people are already doing that. I thought I needed to shake up my understanding of what that march was, and the only way I could do that was to talk to a child. That’s been common in a lot of my work. I struggled to make The Last Happy Day for years and years, until I started to work with some children.
Also Wind in Our Hair, the film I made in Argentina. Sometimes working with kids doesn’t infantalize the situation, but it allows you to experiment more and listen to the materials more and to be surprised. Maybe it’s because I had two daughters and I brought them along. But I am also very intrigued by what children bring to it perceptually. So to take something as large as the Women’s March of 2017, and to think about it from that perspective was very invigorating and turned it into something more immediate. In the end, the Women’s March sadly did not have that much impact. It was like a plaintiff call, so it did connect all of us, but it didn’t bring structural change. It brought bonding amongst kindred spirits. When I’m making a film, I often have to figure out how can an idea that I had years ago can resonate today.
Last night, at 3:30 in the morning, I woke up. We’re not as active these days during the quarantine so sleeping is strange. I got up and I took a bath. But then I had this idea for a film I have been working on for many years. It is called The Company We Keep. It comes from an English expression, often you are judged by the people your are around, “the company that you keep.” Some people use this expression in a rather judgemental way. Over many years, I’ve collected business cards, so I have about 500 of them. I’ve scanned most of them. I want to make this film kind of like an animated film where we go through them. The purpose of a business (calling) card is to be a mnemonic device. Surprisingly, I can remember a little bit about almost all of those people. I am playing with the idea of how these cards trigger something, not just what I remember, but how I understand myself in relationship to them. When you look at the cards, you remember who you were when you connected with that person, but also something about them.
Last night, I wrote myself a note. Most of the people whose business cards I have kept are in a group of people I will probably never know. But in the present, there is another group of people I will never know. These are the people whom I’m hearing about who died from the coronavirus. Recently, a friend of my daughter’s told us about two African American men in her neighborhood in Brooklyn. They were quite old, already retired. For years, they would sit on the stairs (what we call here the stoop) and talk to everybody on the block. Both of them died. Then another man I know lost a brother who was autistic. As you hear those stories, you imagine those people, you imagine them almost like a cut-out, paper-doll. You imagine their shape but they are gone. I wanted to weave that into this short film, because it makes it more vital to me now.
What is your definition of feminist filmmaking?
Many years ago, when I was in grad school, we would take turns shooting each other’s movies. A woman asked me to shoot her film, which I was excited about. We were on her set but I didn’t think that what she was espousing my concept of feminism. Even though I was very honored to be her cinematographer, I could not accept the imagery that she was creating and wanted me to co-create. I have been hesitant to shoot other people’s films ever since. This was the time when I realized that we talk about feminism in terms of holding the camera in addition to how the images of women’s bodies are constructed. I don’t cheer just because a woman gets an Academy Award. I am not actually even necessarily happy that Joe Biden has already announced that he will choose a woman. I feel like he did that as a political ploy. I am happy that he is going to choose a woman, but is that why he chose this woman? I think that a feminist approach to filmmaking takes the responsibility for the representation of women, but for me it must be broader than that. It has sensitivity to other categories of identification, whether you are talking about gender identity, etc.
I loved your talk for the Ann Arbor Festival. I especially agreed when you said that Godard has challenged the film world in many ways, but never in terms of the representation of women. So, who were your favorite feminist filmmakers and your inspirations?
Definitely all three of the women in my film Carolee, Barbara, Gunvor. Each one for different reasons. I would say that they run the gamut of different approaches within the sector of personal filmmaking. I think Barbara Hammer and Carolee Schneemann were particularly at ease with their own bodies. Carolee challenged feminism in a profound way, because she was interested in sensuality, too. I think that’s very current, but she was criticized in other periods of feminism; for showing her own body, for exuding a kind of sensuality/sexuality. Barbara also showed her own body, but in a different way: it was more about strength, strength in the bareness and nudity. Gunvor Nelson made this film called Schmeerguntz. It is so wild, and it’s about motherhood, having babies, all the mess, the shit, the body, letting it all hang out. That’s kind of her take on it. They really run – to me – the gamut. I mentioned Chantal Akerman and loving her work, and her study of women’s bodies. But it’s not just about bodies, of course.
Have you heard about the Bechdel Test? Yes.
I think it’s pretty interesting for mainstream filmmaking. It’s a handy rubric for deciding what the presence of – let’s talk about narrative film – what the presence of a protagonist does or whether a character is able to speak. I think those are interesting things. They’re not the kind of films I’m making, but I do watch them, and I think that plenty of women who make it very high up in the industry, instead of trying to change that structure, actually think that the best way to get into the business is to replicate what already exists, and that’s a shame.
We had two movies at Berlinale this year that were pretty mainstream and feminist – The Assistant –
Oh I saw that! I really liked it. It’s controversial.
At her press conference, the director said that it was hard for her to get funding because she was criticizing the industry. Sometimes these norms are really hard to break. The other one was Never Rarely Sometimes Always.
I wanted to see that. It came out, and then [lockdown happened]. Now it’s online. The other movie that came out in the mainstream, like The Assistant, on the same topic – workplace dynamics – was a film called Bombshell. Did you see that?
No, but I heard about it.
Well…I did not like that movie at all. One of the reasons was, they were talking about the abusive power in the workplace, by men who had financial or other kinds of control in the workplace. But the people who were playing the women actually were bombshells. Do you know this expression? It’s old fashioned. A bombshell is an incredibly beautiful woman.
The movie’s called Bombshell because it’s about these women who are television anchors on broadcast news, who have to be bombshells to get those jobs, but then the story is that they also have to sleep with the boss. But the film, in its texture and representation, never breaks the mould. The women who play the parts are always presenting themselves with the best bodies and make-up, etc. Whereas in The Assistant, everything becomes much more austere and cerebral, and you think about the protagonist – who she is at her desk. I thought it was much more effective.
Another filmmaker who has had a very big influence on me is the Argentine director Lucretia Martel. I study her films, to help me figure out things, around editing. I’ve really been affected by her work.
Did you have a plan for your career? How did you find your direction?
The lucky part was that I found this way of working, and relationship to the media, that I loved. I think that’s been a setback for plenty of good friends of mine: they didn’t necessarily find something they were passionate about doing. I just continue to be excited about it. I had to find ways to make that work for me. The most practical thing I did when I moved to San Francisco, was that I enrolled in a program at a public university that also had a whole cinema studies component. I had a lot to catch up on, in terms of developing a foundation for the understanding of cinema. But the degree was a Master’s degree, and then there was an art school there at the time – The San Francisco Art Institute.
They offered a Master’s of Fine Arts – which in the States is considered a terminal degree, not just the first step. I ended up doing both programs because I was thinking ‘I might want to teach’ and I have been teaching pretty consistently for all these years, but I never aspired to a tenure track job. I’ve taught at probably 15 different art schools or universities, but I wasn’t trying to raise myself up in academia. So that was the most practical thing I did. The other part was that depending on where you teach, it could be hard to have time to do your work, e.g. if they have 7 classes a year. It depends on what is expected. I have had good relationships with places where I was teaching where they gave me funding for a project. Here, we have all different kinds of grants: we have grants from the government (which are not that big), or grants from private foundations, like the Guggenheim foundation.
How did you develop your aesthetic? Did you look back at your earlier works and think ‘oh I could have done this better’ or are you happy with each step?
No, not necessarily happy. Oh my God, sometimes I look at the credits and think ‘oh why did I do that? Why did I have so many names?’ I’m actually in the midst of doing some preservation work on some of my older films. I’m doing part of it with the Museum of Modern Art, they’re working on my film Which Way Is East. It’s been interesting because I’ve had to look at it very carefully, and they are very fastidious. They said, ‘when we make a new 4K scan, you can’t push us to try to make it look like you made this in 2020, because you made it in 1994’. You think about the film stocks and things like that.
NYU has a preservation program, and they are studying the preservation of one of my very first short films, it’s called Still Life with Woman and Four Objects. We’re working on that. They just transferred it to 4K.
That movie actually made me think of Chantal Akerman a lot.
Thank you for saying that. I was also very affected by Yvonne Rainer. I had seen Akerman for sure by that time, because I’d seen her in France, but I don’t know if I’d seen Yvonne Rainer’s [work].
My newest film is called Film About a Father Who. There’s a famous film that Yvonne Rainer made, called Film About a Woman Who… – from the ’70s. I have definitely been very influenced by Yvonne Rainer, but then I would say her films are more austere than mine are.
But you asked about aesthetics. I can’t impose any one aesthetic that I might’ve discovered on the next project, because the idea is the boss. The idea drives the aesthetic, mostly. Sometimes I just shoot, and it’s like I re-find my own material. Did you see this short film I made called Starfish Aorta Colossus?
The whole film is shot with a regular 8mm camera that you wind-up. It’s collaboration between myself and poet Paolo Javier. That material I had shot over decades, and then he asked me if I would make a poem in honor of his book being published. I thought it was a good excuse to go back and look at all this old footage. It wasn’t like I created the footage for his poem, but I put it together in response to his poem.
What was it like to have Bruce Conner as your mentor?
I had kind of like a short-term boyfriend, and he introduced me to Bruce. I was just getting involved in filmmaking, so I had negative skills. But we got along well. Some people thought he was a bit of a curmudgeon, but he wasn’t to me at all. I would just go to his house – I was supposed to be helping him splice his films, but he would look at my splicing ability and think it was so terrible that he ended up doing it himself.
I went once a week and he would tell me stories the whole time. We would just talk and talk. He had a long-term kidney problem. He actually lived for twenty more years, but he would always have to take a rest so I would hang out with his wife. Over the years, when both my children were born, he gave them lovely drawings and we stayed in contact. His found-footage work is profound. The ideas that happen between every shot in A Movie are so fantastic. Nothing is about ‘the archive being precious’ – [instead] the archive is about a way of finding irreverence, or irony, or poetry or politics. He was interested in the clash, rather than the archive being an illustration of a moment in history.
Does your approach change — and if so, how — when working with digital versus celluloid?
It takes a lot more for me to be excited about images that are shot on digital.
[She shows me a work in progress, from which the following still was taken.]
I like the unpredictability of film – the fact that as she circles around, you go into these dark areas. It can happen in video too, but I like the way it works on film, especially in black and white: the background that’s black becomes one kind of canvas, versus another kind of canvas. I also like that it’s not perfectly sharp, because I think that in television there’s too much attention on the face. The less you show, the more interesting the face is. The precision of digital and its ability to replicate reality makes it less compelling to me. Sometimes I shoot digital work I really do like. But in digital, people tend to overshoot: hours and hours. With film, I only shot three minutes of my daughter [running in cirlces], so I have to work with that.
It’s interesting how the film shapes what you make. I watched the XY ChromosomeProject. [Made in collaboration with her husband Mark Street.]
That’s also the name of our – we sort of have a film company. It doesn’t really mean a company, but… you know. I’m glad you watched that.
How was it to collaborate? Did you plan it together and then shoot separately? Or did you shoot separately and then come together?
We made that during a period when our daughters, who are 23 and 25, were younger. We initially made it for this performance space here in New York that was also a restaurant, called Monkeytown. They’ve moved all over the world. There’s one person who runs it and sometimes I hear he’s in Australia, sometimes in Berlin. He had this restaurant (with delicious food), where everybody sat on the floor. They had projectors, so you could project on all four walls of the room. We thought it was Cartesian, so we had an X and a Y. But we also thought about XY as in Chromosomes, so that’s where we got the name.
We’ve made quite a few films together. More than films, we created projection evenings, and things like that. We did something at the Microscope Gallery, for example, here in Brooklyn. Anyway, in this particular case, Mark and I had each shot some of our own material, and we said we had to edit the film together: he would edit a shot, and I would come in on the same computer and edit the next one, like a Surrealist Exquisite Corpse. We constructed it that way, so it was not pre-planned.
How does language that you use mediate or affect your creative process? Language is so interesting in your movies. It’s very rare to find somebody who is so visual and lingual at the same time. Somehow people tend to choose one or the other.
That’s really true. And I think that’s one of the reasons I don’t necessarily identify with certain kinds of ‘purist’ wordless experimental films – but then I also really don’t identify with traditional documentaries that aren’t as playful with the image.
The thing is, that poetry is very close to experimental films. If you think about it, poetry breaks all the rules of grammar, a line break is like a cut between the shots. It makes sense that you don’t have to say ‘cine-poem’, but that poetry is in conversation with not just a love of a language, but a heightened love of language that would work with a heightened love of the film frame. Instead of it being one or the other. But for many people it is one or the other. I’m just excited about both.
It’s really nice. Maybe it’s because I’ve been watching mostly male experimental cinema for the longest time. I suddenly switched and thought maybe it’s just because women are more verbal.
That definitely could be. It’s interesting because Barbara Hammer and Carolee Scheemann both did a lot of writing. I would say in Carolee’s films, the words weren’t that important, but she wrote many books, and she was very engaged with text.
Filmmaker Lynne Sachs, in conversation with Festival Director Cíntia Gil, will discuss 5 films that form her Director’s Focus within the Ghosts & Apparitions strand and her upcoming international premiere of Film About A Father Who which screens as part of Doc/Fest in October. Lynne Sachs’ films explore the notion of translation as a poetic and political tool for widening the world. Together with the focus, Doc/Fest presents Sachs’ video lecture My Body, Your Body, Our Bodies: Somatic Cinema at Home and in the World, a fascinating journey through her themes and work.