These new films create spatial contemplations or film essays from Chicago, San Francisco, Berlin, New York, Canada, from a historical literature connection (Kerouac) or even the virtual space of a Si-Fi film series.
lntermedial Palimpsests in Lynne Sachs’s experimental documentary films
Ethnography is describing the Other. In the 1920s, writer and anthropologist Zora Neale Hurston reacted to this established view with her own artistic and scholarly works on everyday cultures in her own home in America’s black south. Hurston political and poetic studies of “folk cultures” that were mostly disparaged at the time are an expression of unmitigated appreciation and a way of taking up a position within the debate on “high” and “low” art in Harlem between the wars.
I’m a graduate student in the Nonfiction Writing Program at the University of Iowa. I’m enrolled in an essay film class this semester, and this week, I’m putting together a presentation on you and your film, States of Unbelonging.
Video: Lynne Sachs’ Seven Forms of Filmmaking Seven Forms of Filmmaking: Lynne Sachs from Fandor Keyframe on Vimeo. By Joel Bocko March 19, 2016 All of Lynne Sachs‘ films blur the lines between avant-garde, documentary and narrative, but few employ as many different styles and mediums as States of Unbelonging. This essay film, as much […]
Likely the most accomplished experimental filmmaker to come from Tennessee, Memphis-native Lynne Sachs’ 30-year career has produced some of the most mesmerizing, contemplative observations on culture and communication ever committed to celluloid (and sometimes digital video.)
The Light and Sound Machine is at it again, bringing Nashvillians some of the most interesting experimental cinema, current and historical, screening anywhere in the Southeast. On Thursday, Sept. 17, L&SM welcomes veteran filmmaker Lynne Sachs for a program of works spanning her 30-year career, beginning with her first released film and ending with her latest.
When it was a reading series staged in laundromats around the country, The New Yorker described “Every Fold Matters” as a “collaborative, site-specific performance exploring the strange intimacy of the everyday ritual.” The series used performers to act out themes of gendered work, gentrification, and the intermittent weirdness of city life. Playwright and director Lizzie Olesker and filmmaker Lynne Sachs are reuniting to turn the live performance into a film. For Polarr, Emily von Hoffmann spoke with them to find out more.
“I have a group of films I’ve made called my Yes films and I have a group of films called my No films. The Yes films are films where absolutely anything goes… Then I have the No films—but, No is not bad. The No films have a really clear idea, and I’m like quite focused.”
‘We really did not want to say goodbye to this brilliant, imaginative and totally committed group of actors and media artists.’