Kid on Hip, Camera in Hand Interview with Lynne Sachs
A program of films by women who look at the world through the lens of motherhood
2011
PRESS
2011
‘Atalanta: 32 Years Later’ in Enchanted Brooklyn: Contemporary Fairytale Films / Brooklyn Arts Council
Enchanted Brooklyn takes a look at the evolution of the fairytale film, with classic stories re-invented by contemporary Brooklyn filmmakers.
2011
“Hibridez en la manipulación de material audiovisual en la obra de Lynne Sachs”
En 1991, realiza una conexión entre sus lecturas teóricas y su práctica artística. Tanto los revolucionarios textos de pensadoras feministas francesas del siglo pasado como un nuevo estilo narrativo en la propia escritura de Sachs despiertan en ella la necesidad de bucear en un nuevo nivel de conciencia de su ser y como conclusión desarrolla un lenguaje cinematográfico muy personal que combina una aguda critica, collages, found footage, metáforas y performances que lleva el título de “House of science: a museum of false facts”.
2010
Sachs explores themes of war through films at Memphis Brooks
Sachs’ films are searching, inquisitive projects — quests of discovery (and self-discovery) that yield facts and insights that become even more meaningful when they are shared with audiences as art.
2010
Otherzine Interview w/ L. Sachs by Molly Hankwitz
In my twenty year relationship as audience to Lynne Sachs’ filmworks, I have always admired her amazing ability to connect the very personal, physical relationship of ‘selfhood’ to film and film history and to collage a variety of complex themes into one complete film, often with challenging ambiguity and open endedness.
2010
New York Magazine review of Anthology Film Archives Screening 3 Films by Lynne Sachs
“Anthology groups together shorts by the experimental filmmaker, offering a diverse look at her studies of people undergoing change. It’s dense, difficult, and allusive, but Sachs has a fundamental mastery of tone that makes the films worthwhile, even for relative avant-garde novices.”
2010
Three Films by Lynne Sachs at Anthology Film Archives Sept. 24 & 25
Three Films by Lynne Sachs (Friday and Saturday) This review of recent work by one of the leading New York independent filmmakers includes the local premiere of “Wind in Our Hair,” a 41-minute video, made in Argentina with the collaboration of Leandro Listorti and Pablo Marin, that explores the world of four teenage girls, both as they imagine it and as it exists within the restraints of social reality.
2010
FILMTHREAT review of THE LAST HAPPY DAY
“The Last Happy Day” is a stunningly beautiful essay film by Lynne Sachs, in which she uses the remarkable story of her distant cousin Sandor Lenard, a Jewish Hungarian doctor who survives two world wars, as a lens for her meditations on trauma, survival, history, and healing.
2010
“The Worlds Lynne Sachs Calls Home” by Susan Gerhard
The films of Lynne Sachs travel to exotic places, but find themselves concerned primarily with the universal qualities of the everyday. They revisit war zones but refuse to foreground the idea of War as humanity’s most fascinating pursuit. They are experimental in nature yet can offer straightforward and earnest approaches to literal problems. They defy expectations for radical art.
2010
Letter from Bill Nichols on Investigation of a Flame
Events like the one you reexamine flickered past on the limited news that reached my remote village. Their function on an ethical plane of giving witness to an alternative view of community and relationships was not lost on me, not after having followed King’s efforts in some detail. But this had to be filtered out from the general hysteria, scapegoating and demonizing. I never had access to the interiority of the event, certainly not with the density and complexity that you are now able to offer.
