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.”
In 2014 filmmaker Lynne Sachs was invited by the Department of Film/Video to present Taking a Docu-mentary Detour, a lecture/performance with students from several Pratt divisions that was part discussion, part experiment, and part artwork.
“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.
The appointment was for 8:00 pm and Gallisá Sofia studio in Fort Green , Brooklyn began to fill with Puerto Rican friends . We were about ten . We had been invited by filmmaker and teacher, Lynne Sachs. Lynne wanted to know our bedtime stories , record them and study them. Sofia, her collaborator , trust our narrative power and strangeness , hence the invitation.
Filmmaker Lynne Sachs and performers Yi Chun Cao, Linda Y.H. Chan, Chung Qing Che, Ellen Ho, Yun Xiu Huang, and Sheut Hing Lee joined A/P/A Institute at NYU on Thursday, October 2, 2013 for a screening of the film and a conversation moderated by Karen Shimakawa (Chair of Performance Studies at NYU, Tisch School of the Arts). Lesley (Yiping) Qin served as translator.
The ground rules were set early on in the IFP Film Week panel “Neorealist Features & Hybrid Documentaries.” There was to be no talk about “business.” We were here to talk about art — the art of cinema and how to transcend categorization.
When the experimental filmmaker Lynne Sachs taught avant-garde filmmaking at the University of California, Berkeley, in 1992, few if any in our class had ever heard of the essayist Chris Marker, with whom she later collaborated on Three Cheers for the Whale, or Trinh T. Minh-ha, whose approach to filmmaking strongly influenced her own.