Category Archives: synopsis

Mary Moylan: Nine Years Underground

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“Mary Moylan: 9 years underground”  by Lynne Sachs
a multi-media biography using video, audio, postcards and artifacts

Premiere:  Maryland Film Festival, Charles Theatre;  Maryland Art Place Artist Residency

Mary Moylan, a 32-year-old registered nurse and midwife from Baltimore, was one of two women in the infamous 1968 anti-war group the Catonsville Nine. A feminist and a passionate critic of the Vietnam War, Moylan was sentenced to several years in prison for burning draft files with homemade napalm. From 1970-79, she lived underground, in disguise, traveling from city to city across America.   During this time, Moylan –the felon on the lamb–  created a fabulous wigged persona who wrote hilarious, yet strident  letters to the world at large from her place “underground.”    Mary Moylan:  Nine Years Underground is a visual meditation not only on Moylan’s life as a woman in America in the 1970’s but also on the role of civil disobedience in American culture and politics.

Entire piece measures 24’’ long  x 24” wide x 24”high with simple electrical connections to TV/DVD ;  all electronic appliances are hidden within purse and small suitcase. Gallery visitors listen to actress reading Moylan’s letters  through headphones in purse.   Small television images of a woman’s hands in handcuffs are under glass casing.  Video and slide documentation give some idea of project, though set will no doubt change with the particulars of a space.

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Below are excerpts from articles and interviews on Mary Moylan.  Some of these texts are also under glass casing in the installation

Nine Catholic clergymen and laymen who oppose the war in Vietnam doused the Selective Service records of 600 draft-age men with napalm and set them afire yesterday in a cement lot behind the Catonsville draft board.  …among the demonstrators was Mary Moylan, a 32-year-old registered nurse and midwife from Baltimore.    The Baltimore Sun
May 18, 1968

A chipper Mary Moylan, the missing Catonsville Nine defendant who turned herself in to federal authorities after nine years in hiding, took the phone at the Women’s Detention Center today and gently refused to be interviewed.
“Where have you been these last nine years?” she was asked.
“Here and there,” Moylan answered, and laughed heartily.
“What have you been doing?”
“Oh, this and that.”                    The Baltimore Sun,  June 20, 1979

Mary was so successful in her Orphic descent underground she lost contact with old comrades, friends and family.  Some of the people who loved her most never saw her again.   “She talked to me about things I would not have talked about,” remembers her sister Ella. “She didn’t go to our mother’s funeral in 1970 because she believed the FBI would be there.  I think they were.”    Mary Moylan died sometime in late April in Asbury Park, N.J.  She was 59, alone and blind”  The Baltimore Sun   May, 1995

Below are authentic handwritten year-book style writings about Mary found on side panels of piece.  These are thoughts by those who knew her before her life underground:

“I remember the bell she wore during the trial in Baltimore, a constant and wonderfully irritating tinkling throughout the proceedings.”
Bill O.

“After the action in Catonsville, we piled into the police van. I stared at Mary’s bright red hair and then noticed she was sliding her hands, ever so delicately, out of the cuffs.”
John H.

“She lay on the beach, a stack of trashy romance novels on her right side, Roszak’s The Making of a Counter Culture on the other.”
Willa B.

“She and the other members of Women Against Daddy Warbucks hurled 1000’s of draft files from an office building in Times Square.”
Bill O.

“She wouldn’t stay with families, the whole time she was underground.  ‘Hon, it’s too damn dangerous,’ she told me.  ‘If the FBI storms in looking for me, there’ll be gunfire.  I can’t take that kind of risk with kids around.’”
Willa B.

“I met her on the boardwalk at Rehobeth.  She was wearing a wig and stood a little hunched over.”
Brendan W.

“I think she died alone, somewhere in  New Jersey, almost blind.”
Brendan W.

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The House of Drafts: A Bosnian-American Web Collaboration

Burning Sarajevo Library

THE HOUSE OF DRAFTS/ DOM PROMAHA
www.house-of-drafts.org

House of Drafts/ Dom Promaha is a virtual apartment building inhabited by the imaginary characters created by eight Bosnian and two American media artists.  Our characters have refused the opportunities of exile and instead have chosen to stay in Sarajevo.  We invite you to enter this apartment building through our website or by watching the tape as a way of meeting the characters who live here.

This building relies on an architecture comprised of images, sounds and text.  The project as a whole is shaped by our autobiographical experiences as they are filtered through poetic reflections, original music, and video.  From a performance artist who moonlights as a de-miner, to a cinematographer who uses his camera to turn a decaying Sarajevo into a bustling Bangkok, to a traveler caught by the inferno of a burning library  — the website and corresponding video represent our ruminations on a city and its inhabitants during and after a period of war.  On the website you are invited not only to enter and explore our House of Drafts but also to participate by leaving your own writing and images on the walls of the space.

Created by Jeanne C. Finley (San Francisco) and Lynne Sachs (New York) with the participation of Larisa Hasanbegovic, Adla  Isanovic, Timur Makarevic, Tvico Muhidin, Alma Suljevic and  Enes Zlater (Sarjevo, Bosnia Herzogovina).

Web site consultation and development donated by Teri Rueb.

Supported by ArtsLink, the Trust for Mutual Understanding, the Sarajevo Center for Contemporary Art and Women Make Movies. The House of Drafts videotape is available by contacting either Jeanne or Lynne by email through the site address.

Lynne Sachs and Jeanne Finley in workshop

Jeanne Finley and Lynne Sachs in Sarajevo

Jeanne Finley in Sarajevo Media workshop

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Horror Vacui: Nature Abhors a Vacuum synopsis

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A woman drinks tea, washes a window, reads the paper– simple tasks that suggest a desire to fill time with either movement or thought.  Sometimes she hears the rhythmic, pulsing symphony of crickets in a Baltimore summer night. Other times jangling toys dissolve into the roar of a jet overhead, or children tremble at the sound of thunder. The small home-movie boxes within the larger screen are her gestural forms of memory, clues to her childhood, mnemonic devices that expand on the sense of immediacy in her “drama.”  These are the empty moments of a waking mind.   (Lynne Sachs)

Presented in a very bare bedroom-like space with a window, two chairs, a bed, a small old fashioned television, a throw rug and a bookshelf.  Gallery visitors are allowed to walk in the space, sit on the chair, and lie on the bed.

Above the real bed, we see the  black and white representation of another bed with a moving colorful image on one pillow.  In contrast to the noisy immediacy of the day, this bright red image of azaleas is fleeting, nocturnal, imprecise.  It is merely a remnant of a small desire.

Before the real bed, a small black and white television screen becomes the transition between the day of the woman at the window and the night of the bed.  Once again, we are witnessing a relic of a human presence, a state of unbelonging in which the mind moves between here and there without ever truly inhabiting anywhere.  On the screen, we watch the shadows of a person moving silently through a domestic space.

REVIEW
“Witnessing a relic of a human presence, a state of unbelonging in which the mind moves between here and there without ever truly inhabiting anywhere.   Horror Vacui makes us ponder why we seek constantly to fill our minds with words, music, clatter, stuff.  At first glance, the installation seems to consist only of a bedroom and three ever-changing videos.  Stay awhile.  As you soak up your surroundings with its soft lighting, constantly moving images and shadows that flicker against the sparse furnishings — your mind wanders.  On screen images of ordinary objects seem weirdly evocative.  A duster complete with a bushy top of feathers begins to resemble a palm tree.  You will discover that a great deal is happening, some of it inside your own mind. But the magic of the installation occurs in the moments between sounds.”  (“Portfolio”, The Baltimore Sun, Holly Selby)

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Tornado

Tornado
4 min.color video 2002 by Lynne Sachs

A tornado is a spinning cyclone of nature. It stampedes like an angry bull through a tranquil pasture of blue violets and upright blades of grass.  A tornado kills with abandon but has no will.  Lynne Sachs’ “TORNADO” is a poetic piece shot from the perspective of Brooklyn, where much of the paper and soot from the burning towers fell on September 11. Sachs’ fingers obsessively handle these singed fragments of resumes, architectural drawings and calendars, normally banal office material that takes on a new, haunting meaning.

For inquiries about rentals or purchases please contact Canyon Cinema or the Film-makers’ Cooperative. And for international bookings, please contact Kino Rebelde

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Photograph of Wind

This film is currently only available with a password. Please write to info@lynnesachs.com to request access.

“Photograph of Wind”

by Lynne Sachs
16mm, b&w and color, 4 min. 2001

My daughter’s name is Maya.  I’ve been told that the word maya means illusion in Hindu philosophy.  As I watch her growing up, spinning like a top around me, I realize that her childhood is not something I can grasp but rather  – like the wind – something I feel tenderly brushing across my cheek.

“Sachs suspends in time a single moment of her daughter.”  Fred Camper, Chicago Reader

San Francisco Film Festival, Onion City Film Festival

For inquiries about rentals or purchases please contact Canyon Cinema or the Film-makers’ Cooperative. And for international bookings, please contact Kino Rebelde

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Investigation of a Flame

NEWLY RESTORED 2023 PRESERVATION!

Investigation of a Flame:  A Portrait of the Catonsville Nine by Lynne Sachs

45 min. color and B&W, 2001

plus 5 min. Sundance Channel documentary on Daniel Berrigan and the making of the film

On May 17, 1968 nine Vietnam War protesters led by Daniel and Philip Berrigan, walked into a Catonsville, Maryland draft board office, grabbed hundreds of selective service records and burned them with homemade napalm.

“Investigation of a Flame” is an intimate, experimental documentary portrait of the Catonsville Nine, this disparate band of resisters who chose to break the law in a defiant, poetic act of civil disobedience.

How did the photos, trial publicity and news of the two year prison sentences help to galvanize a disillusioned American public? “Investigation of a Flame” explores this politically and religiously motivated performance of the 1960’s in the context of extremely different times — times in which critics of Middle East peace agreements, abortion and technology resort to violence of the most random and sanguine kind in order to access the public imagination.

“BEST DOCUMENTARY in  2001”, Phillip Lopate, Village Voice Critic

“One of the ten best films released in 2002” Phillip Lopate, Film Comment

“A complex rumination on the power of protest…..the trauma of the past, the continued mistakes of the present and the necessity to reflect actively on our government’s wartime antics.” The LA Weekly

“A film to rave about, as well as reckon with.” The Independent Film and Video Monthly

“Sachs’ elegant, elliptical documentary visits with surviving members of what became known as the Catonsville Nine, humble architects of this purposeful yet scathingly metaphoric act of civil disobedience.” The Village Voice

“Investigation of a Flame captures the heartfelt belief behind the Nine’s symbolic action of civil disobedience that sparked other (actions)  like it across the nation. (The film) provides a potent reminder that some Americans are willing to pay a heavy price to promote peace.”  Baltimore City Paper

“This is a documentary about the protest events that made Catonsville, Maryland, an unpretentious suburb on the cusp of Baltimore, a flash point for citizens’ resistance at the height of the war. Sachs found assorted characters still firm to fiery on the topic.  She came to admire the consistency of the mutual antagonists in an argument that still rages (today).” The New York Times

“This poetic essay offers the perfect antidote to PBS:  there is no omniscient narrator talking down to the viewer, reciting facts and explaining what to think, yet the story is perfectly clear.  Brothers Phil and Dan Berrigan, who led the protest, appear both in the present and in archival footage, a mix that makes their commitment palpable.”  Chicago Reader

“To those who think that everything in a society and its culture must move in lock step at times of crisis, (this film)  might seem to be ‘off-message.’ But it’s in essence  patriotic… saluting U.S. democracy as it pays homage to the U.S. tradition of dissent.” The Baltimore Sun

Screenings: National Broadcast on the Sundance Channel; Maryland Film Festival “Opening Night”; Museum of Modern Art, Documentary Fortnight “Opening Night”; Rhode Island Film Festival; Art Institute of Chicago; Mill Valley Film Festival;  San Francisco Cinematheque;  Pacific Film Archive; Corcoran Gallery, Washington, D.C.; Olympia Film Festival., Providence Women’s Film Festival, Denver Film Festival; Harvard University Film Archive; Cornell University Cinema; Museum of Fine Arts Boston; NY Underground Film Festival; Vassar College; Ithaca College; Massachusetts College of Art; Catholic University; Maine Film Festival; Florida Film Festival; Georgetown University;  Brooklyn Academy of Music, Portland Doc. Festival,  Wisconsin Film Festival,  Georgetown University’s Jesuit Week, American University Center for Social Media

Awards:  Black Maria Film Festival; San Francisco International Film Festival: New Jersey Film Festival; Ann Arbor Film Festival; First Prize Documentary Athens Film Festival

Supported with funding from the Maryland Humanities Council, the Maryland State Council on the Arts, the Puffin Foundation and a Media Arts fellowship from the  Rockefeller Foundation.

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For inquiries about rentals or purchases please contact Canyon Cinema, the Film-makers’ Cooperative, or Icarus Films. And for international bookings, please contact Kino Rebelde

Window Work

Window Work
by Lynne Sachs
9 minute, color, sound  video 2000

Music by Tom Goldstein
Sound Recording by Mark Street

A woman drinks tea, washes a window, reads the paper– simple tasks that somehow suggest a kind of quiet mystery within and beyond the image. Sometimes one hears the rhythmic, pulsing symphony of crickets in a Baltimore summer night..  Other times jangling toys dissolve into the roar of a jet overhead, or children tremble at the sound of thunder.   These disparate sounds dislocate the space temporally and physically from the restrictions of reality.   The small home-movie boxes within the larger screen are gestural forms of memory, clues to childhood, mnemonic devices that expand on the sense of immediacy in her “drama.”  These miniature image-objects represent snippets of an even earlier media technology  — film.   In contrast to the real time video image, they feel fleeting, ephemeral, imprecise.

“A picture window that looks over a magically realistic garden ablaze in sunlight fills the entire frame.  In front, a woman reclines while secret boxes filled with desires and memories, move around her as if coming directly out of the screen.”  Helen DeWitt, “Thresholds of the Frame”, Tate Modern Museum of Contemporary Art, London

“On screen images of ordinary objects seem weirdly evocative.  A duster complete with a bushy top of feathers begins to resemble a palm tree.  You will discover that a great deal is happening, some of it inside your own mind. The magic of the piece occurs in the moments between sounds.”  “Art Portfolio”, The Baltimore Sun, Holly Selby

Dallas Video Festival; Delaware Art Museum Biennial; Athens Film Fest; European Media Arts Festival, Osnabruck, Germany; New York Film Expo; Black Maria Director’s Citation; Moscow Film Festival; Tate Modern, London

Created at the Experimental Television Center

For inquiries about rentals or purchases please contact Canyon Cinema or the Film-makers’ Cooperative. And for international bookings, please contact Kino Rebelde

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Various Experimental Film Programs

“New Experimental Film Works”
at the  Fells Point Creative Alliance. Baltimore, Maryland
Presented by Lynne Sachs and Mark Street
Thursday – December 9, 1999

From Ann Arbor to Austin to Arcata, local fimmakers Mark Street and Lynne Sachs have been travelling to film festivals around the country and in Europe this year showing their own work and watching an amazing selection of new alternative cinema.  Tonight they will bring back to Baltimore some of the most compelling, ground-breaking experimental films being made in America today.  A surreal allegory on a Canadian farm, a meditation on Cuban streetlife, an Eastern European tease on the notion of history– the work is audacious, lyrical and on occasion sublime.  Two of the filmmakers — Paula Froehle (Chicago) and Jenny Perlin (New York City) — will attend their Baltimore premieres in order to discuss their work and to answer questions from the audience.

“Chemistries”, Daven Gee, 10 min.
“Meditations on Revolution, Part I” by Robert Fenz, 10 min.
“The Whole History of That” by Jenny Perlin, 17 min.
“We are Going Home” by Jennifer Reeves, 10 min.
“Fever” by Paul Froehle, 6 min.
“Flight” by Greta Snider, 7 min.
“Twilight Psalm II:  Walking Distance” by Phil Solomon, 15min.

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DIS PLACE MENT:
5 States of UnBelonging

LINK Film and Video Program
March 31, 2000

Curated by Mark Street and Lynne Sachs

“Fells Point 99”, Isaac Cynkar, 1999
(4 min. excerpt)

“Sight Unseen (a travelog)”, Jonathan Robinson, 1990
(5 min. excerpt)

“Land Without Bread”,  Luis Bunuel, 1932
(6 min. excerpt)

“Mercy”, Abigail Child, 1989
(3 min. excerpt)

“The Past is a Foreign Country”, Joanna Racynskza, 1998
(5 min. excerpt)

A Biography of Lilith

“A Biography of Lilith”
16mm Color Sound 1997  35min.

In a lively mix of off-beat narrative, collage and memoir, A Biography of Lilith  updates the creation myth by telling the story of the first woman and for some,  the first feminist.  Lilith’s betrayal by Adam in Eden and subsequent vow of revenge is recast as a modern tale with present-day Lilith (Cherie Wallace) musing on a life that has included giving up a baby for adoption and work as a bar dancer.  Interweaving mystical texts from Jewish folklore with interviews, music and poetry, Sachs reclaims this cabalistic parable to frame her own role as a mother. With music by Pamela Z and Charming Hostess (Jewlia Eisenberg and Carla Kielstadt).

Partially supported by a finishing fund grant from the Experimental Television Center, as a project of the New York State Council on the Arts.

“The true story of this not so mythical, mythic first female. Sachs’  film conveys the real experience — bloody and poetic — of Lilith alive and now in every woman. Bravo! A film felt, imagined, and informed by life.” –  Barbara Black Koltuv, Ph. D. Clinical Psychologist, Jungian Analyst, and Author of The Book of Lilith

“Sachs’ art for fusing documentary and experimental narrative is unquestionably enormous.  In this new film, her combination of an interview with a friend, the myth of Lilith and beauteous images of things like jelly fish (which float like iridescent breasts on screen) culminates in stunning cinema.” Molly Hankwitz, Art Papers

Screenings:  Pacific Film Archive, Berkeley, CA; San Francisco Cinematheque; Women in the Director’s Chair Film Festival, Chicago; Ann Arbor Film Festival; Charlotee Film Fest (prize) Onion City Film Festival, Chicago; Humboldt Film Festival; Big Muddy Film Festival; Anthology Film Archive, NY; Fordham University; University of Maryland; California College of Arts and Crafts; Maryland Institute of Art; University of South Florida; Millennium Film Workshop, NY; Madcat Women’s Film Festival

Prizes: NY Film Expo; Black Maria; New York Women’s Film Festival

Selected by Mehdi Jahan on Desist Film’s Best of 2021 List.

For inquiries about rentals or purchases please contact Canyon Cinema or the Film-makers’ Cooperative. And for international bookings, please contact Kino Rebelde

 

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Interview in the San Francisco Bay Guardian

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Lynne Sachs: An American Original
1993

By Tom Erikson


“I just tumbled into filmmaking,” Lynne Sachs admits. “It made so much sense to me. It gave me a chance to pull in poetry, looking at trees, listening to the sounds of grasshoppers, cars, and babies. The words go with reflections on politics to parables. And all of it can fall into this vessel that’s a film I might make. Film is completely full of possibilities.”

A bicoastal artist and teacher, Lynne Sachs is presently teaching film at Rutgers University while in process with her fourth short feature, A Biography of Lilith. Last week she participated in The Roxie Cinema’s Madcap Women’s Film and Video Festival, screening two early 1990s works, The House of Science and Which Way is East, as well as excerpts from Lilith. The new film combines narrative, documentary, and experimental techniques to tell the story of Adam’s first partner, who was thrown out of the garden of Eden for, as Sachs puts it, “wanting to be on top in sex.”

“Lilith has been demonized throughout the history of Jewish and Middle Eastern culture,” Sachs explains. “She is pretty much absent from the Bible, except for a cameo appearance as a minor demon in the Book of Isiah, but she is a character that has moved through Jewish mysticism for centuries. The Cabala discusses her. And she turns up as a character on the TV show Cheers. For all different reasons people feel connected to Lilith.”

At first, Sachs was having difficulty capturing on film the sequences that would convey her main character’s story. The experienced actress cast in the role “had not lived a Lilith life,” Sachs discovered, so she was recast as Eve and a New York stripper was hired. The woman, although not trained as an actress, inhabited the role so perfectly that Sachs was inspired to film her in a series of documentary style interviews that greatly expand the themes of the piece. Poetry and music have also been included – personal poems by the director, songs of the East Bay a cappella trio Charming Hostess, and music by San Francisco composer Pamela Z, for instance. All of this – combined with a running narrative of Sachs’ own reactions to the emotional complications of her two pregnancies, and filmed sonograms and footage of the birth of her first child, Maya – will make for an extremely affecting movie.

“Every film I’ve made has involved a total immersion in a subject,” Sachs explains. “That’s why they take so long. I have done an incredible amount of research for Lilith because I want it to be not only about the most personal things, but also about aspects of life that are out there in the world that I have no knowledge of. So the film explores certain aspects of Judaism, while it has also been about accepting the precariousness of being a mother and an artist.”

“A film goes with you wherever you go,” Sachs concludes. “It’s similar to how some people want religion to be. It can be both a solace and a place of incredible emotional controversy. You can’t put you finger on it. Its about a way of being. You live inside it.”