Sachs has a really well-attuned photographic eye, and she captures the trio in a series of easygoing domestic situations. The three artists discuss their artistic lives, how they came into their practice, how their gender identities factor in, where their work comes from.
I am happiest when my film ‘characters’ explore storytelling from various subjectivities,” various selves and other-selves, opening up, perhaps ironically, a more authentic portrayal of being alive during a specific time, in a specific situation or place.”
“Sachs and Street have each remade films by her or his partner, creating a new dimension in both their work, elucidating through the nature of the project both the translatable and the untranslatable.”
Sachs’ brilliant body of work has often focused on the curious dance between histories, the personal and global, so it is no surprise that her latest film moves across a myriad of topics with skill and grace.
In Tip of My Tongue, director Lynne Sachs explores the dynamism of memory through poetry, archival footage, and personal interviews; her artful collage of moments intelligently portrays the beauty that often lies hidden in the minds of those around us.
Lynne Sachs’ latest film Tip of My Tongue, which has its world premiere as the festival’s closing night selection, is a beautiful, poetic collage of memory, history, poetry, and lived experience, in all its joys, sorrows, fears, hopes, triumphs, and tragedies.
Lynne Sachs and others reflect on the making & viewing of Chris Marker’s “Three Cheers for the Whale”.
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.
