“Three additional films by Lynne Sachs—The Washing Society (2018, made with Lizzie Olesker), And Then We Marched (2017) and E•pis•to•lar•y: Letter to Jean Vigo (2021)—screen at Berkeley Art Museum/Pacific Film Archive on Wednesday, April 6.”
Fandor to showcase independent films featuring women filmmakers and stars and will focus on the Indie Spirit Awards and filmmaker Lynne Sachs.
or Berkeley’s venerable Pacific Film Archive (or “PFA” for short), it’s a season for re-starting programs interrupted by COVID outbreaks or encouraging viewers to have the curiosity to try filmmakers different from the same-old same-old predicted by Netflix algorithmic recommendations.
This program of four short and medium-length pieces highlights Sachs’ filmography from a poetic, personal perspective, as she uses her camera to capture the essence of people, places, and moments in time.
“A workshop in which we will explore the ways in which images of our mother, father, sister, brother, cousin, grandfather, aunt or uncle can become material for the making of a personal film.”
In this episode, she discusses the field of experimental documentary in general as well as her ways into the field.
“This series aims to invoke the spirit of the early City Symphonies and apply it to the New York of the late 20th century and the early part of this century.”
Honouring the work of Barbara Hammer as seminal to generations of artists, this session celebrates erotic freedom in communion with nature through the hands of multiple filmmakers.
The film will screen on February 26th and 27th at La Casa Encendida.
Other titles in OVID’s February slate include Shirley Clarke’s Beat classic THE CONNECTION, the delightful Hong Kong genre farce VAMPIRE CLEANUP DEPARTMENT, Ilan Ziv’s eye-opening EXILE, A MYTH UNEARTHED, and five more indelible short films by OVID favorite Lynne Sachs.
