“She Observes Herself and Others Learning (Lynne Sachs and Christina Lucas)” and mention in May 2022 Film Diary – Roland Barfs
“…hey operate at different ends of the same recent aesthetic tendency, exploring quantification and its limitations.”
“…hey operate at different ends of the same recent aesthetic tendency, exploring quantification and its limitations.”
We’re incredibly excited to announce the selection of three esteemed jurors for the 58th Ann Arbor Film Festival, scheduled for March 24–29, 2020. The three will attend the six-day festival, viewing more than 120 films in competition and awarding roughly $22,500 in cash and in-kind awards.
Sachs presents multiple perspectives by liberally jumping backwards and forwards in time, capturing Ira at different ages and points in his life. In doing so, the film doesn’t draw attention to how he changes so much as what stays the same…
Lynne Sachs talks process and inspiration with Rob McLennan.
…But the documentary seems to argue that due to the complexity of familial bonds, only those caught inside should get to define them.
“She, in telling her own stories of milestones both political and personal perfectly captures the way that all of our lives interweave with larger events.”
Sachs, referencing the title of Yvonne Rainer’s landmark feminist feature Film About a Woman Who (1974), practices what Rainer was preaching—and in turn has constructed one of the most powerfully pertinent documentaries of recent years.
New York poets Valery Oisteanu and Lynne Sachs make distillations, sometimes with words, sometimes with images.
Lynne Sachs discusses her new movie “Film About a Father Who” and her 2006 film “States of UnBelonging” with Ynet.
Knowing that Lynne has been working on this film for 26 years, it’s easy to wonder why she doesn’t come to a more definitive conclusion about who her father is or what family means for her and her siblings.