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Intimate confessions, paired with experimental choreography outside a woman’s clinic in Memphis, offer a glimpse into post Roe v. Wade America.
A food market and playground in Queens, NY becomes the site for this film inspired by Paolo Javier’s Original Brown Boy poems. The film itself transforms into an ars poetica/cinematica—a meditation on writing and making images in the liminal space between a global pandemic and what might come next—as five New York City performers speak in verse while wandering through food stalls in search of a new sensation.
Since 1990, filmmaker Lynne Sachs has collected 600 business cards—from a hairdresser, a therapist, a textile artist. Together they form an archive of encounters.
From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives.
"Kristine Leschper wrote to me with a very intriguing proposition: create a short film in response to her song “Figure and I”. I knew that this deeply rhythmic two-minute song needed some kind of somatic imagery. I needed to move with my body and my camera as I was shooting it. A few days later, I went to “The New Woman Behind the Camera” exhibition at the Metropolitan Museum of Art in New York City. In this show, I saw two photos by two women photographers from the 1920s whose work I had never seen before. These images guided me to a way of interpreting the physicality and the intimacy of Kristine’s song. Soon afterward, I invited my friend Kim Wilberforce to be in my film and to interpret the song herself, through her vibrant wardrobe and her precise, ecstatic clapping gestures. " Lynne Sachs
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.
From 1984 to 2019, Lynne Sachs shot film of her father, a bon vivant and pioneering businessman. This documentary is her attempt to understand the web that connects a child to her parent and a sister to her siblings. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.
A wabi sabi summer in Japan: Observing that which is imperfect, impermanent and incomplete produces a series of visual haiku in teeming street life; Bodies in emotion, and leafprints in the mud.
Lynne Sachs films her daughter Maya in 16mm black and white film, at ages 6, 16 and 24. At each iteration, Maya runs around her mother, in a circle – clockwise – as if propelling herself in the same direction as time, forward. Conscious of the strange simultaneous temporal landscape that only film can convey, we watch Maya in motion at each distinct age.
When you drop off a bag of dirty laundry, who's doing the washing and folding? The Washing Society brings us into New York City laundromats and the experiences of the people who work there by observing these disappearing neighborhood spaces and the continual, intimate labor that is performed there.