Maria Lassnig may be known best for her paintings, but the artist was also a pioneer in the world of film. Lassnig’s work often focused on themes of autobiography, friendship, New York City, and, perhaps most ambitiously, physical sensation.
My engagement with Canyon Cinema started when I was a young filmmaker living in San Francisco in the mid 1980s.
With nothing more than a clockwise twirl, Sachs captures Maya’s life at 6, 16, and 24.
Earlier in the year, we presented Tender Non-Fictions, a program of films by experimental documentarian Lynne Sachs, who has been prolifically creating works for cinema for four decades.
“The thirty-fifth annual Robert Flaherty Seminar, help this August in upstate New York, proved a case in point. With this year’s focus on work by “third world and minority film and video artists,” programmed by Pearl Bower of African Diaspora Images, excitement and expectations were high.”
The Film Center, in collaboration with Conversations at the Edge and the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation program, is honored to welcome Sachs to the Film Center in person for two evenings of her work
“Barbara Hammer, famous lesbian experimental filmmaker, begins her own dying process by revisiting her personal archives.”
For thirty seconds, look at but try not to read the front page of any newspaper you can find in your home or on-line.
The Centre Film Festival is a grass-roots organization founded to bring multigenerational stories to the screen and to create a platform for storytelling and dialogue.
We handed out three awards: short film to Maya at 24 by Lynne Sachs, mid-length film to Civic by Dwayne LeBlanc, and feature film to Cette Maison (This House) by Miryam Charles.
