Lynne Sachs has spent 25 years of her young life making films, installations and documentaries from Vietnam to Bosnia and all corners of the world. She is a master of the art and a gifted collector of the tiny moments of the human comedy and tragedy.
I like making things. Objects that are distinct, take up space, have weight and texture, can be given as gifts, are occasionally sold, contain the very story of their making in the material of their being. And so it is with a stubborn adolescent fury that I refuse to believe that the work I do as a filmmaker is being pushed so quickly and definitively from the three dimensional into the digital and ultimately to the virtual world.
The great variety of backgrounds, fields of study, and accomplishments of Guggenheim Fellows is one of the most unique characteristics of the Fellowship program.
In the spirit of the RIDE (Risk/Dare/Experiment) series, Sachs and a small group of Pratt students will present Extra Long Twin, their original 15-minute live film-performance as a finale to the program. Expanding upon the theme of the bed in Sachs’ film Your Day Is My Night , Pratt art students will utilize the bed as a starting point for inquiry into the personal and collective experience of living in a New York City apartment or dormitory.
Filmmaker Lynne Sachs and poet Paolo Javier on the dialogues between documentary and poetry, and politics and personal history.
Canyon filmmaker Lynne Sachs. Sight & Sound has ranked her experimental documentary Your Day is My Night among the best films of the year, and the BBC has already declared it to be one of eight films to watch in 2014. Now is a great time to return to the Canyon catalog to […]
“It’s one of the most mysterious and magical evocations of the migrant city in many a year.”
Eight films to watch in 2014
Published online on January 3rd, 2014 BBC Culture
By Tom Brook
“Director Lynne Sachs’ Your Day is My Night shines a light on a little documented sub-culture in New York’s Chinatown, chronicling immigrants who live communally in buildings where there’s a shift-bed system. One person returns from a stint of overnight work to sleep in a bed just vacated by another person off to their day job. The form of this documentary is as compelling as its content. It is a beautiful collage of different media and music intricately edited together with the often emotional testimony of the immigrants.”
“Anything that happens in front of the camera is some kind of performance,” said experimental filmmaker Lynne Sachs at the top of Tuesday’s “The Line Blurs: Shifting Narratives in Filmmaking” panel. Sachs, along with Caveh Zahedi, Josephine Decker, Keith Miller and moderator Nathan Silver, spent an hour debating the division between narrative and documentary forms at DCTV.
Lynne describes her films as explorations of the intricate relationship between personal observations and broader historical experiences.
