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.
On July 15, The DocYard series, running Monday nights at the Brattle Theatre, will host writer-director Lynne Sachs and her gorgeous, intimate look inside one very crowded New York Chinatown apartment, Your Day Is My Night.
Combining scripted performance with improvisation, Your Day is My Night becomes immediately difficult to classify. Is it a documentary?
When director Lynne Sachs first got the idea to make a film about shift-bed houses, she googled “hot-bed house” and got X-rated results. That was three years ago.
