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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.
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.
"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
THE LAST HAPPY DAY is an experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs. In 1938 Lenard, a writer with a Jewish background, fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones, small and large, of dead American soldiers. Eventually he found himself in remotest Brazil where he embarked on the translation of “Winnie the Pooh” into Latin, an eccentric task that catapulted him to brief world-wide fame. Sachs’ essay film uses personal letters, abstracted war imagery, home movies, interviews and a children’s performance to create an intimate meditation on the destructive power of war.
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. Eleven years later, I pull out my 16mm Bolex camera once again and she allows me to film her, different but somehow the same. - Lynne Sachs
The village women of Mambai in Bali, Indonesia collect sand and stone from the river. Each woman sells what she has gathered for construction material. But the river is more than a place to work. It is a place to bathe, wash clothes, laugh and tell stories. "Fossil" is a collaborative performance piece crated by David Bronstein, Debbie Crowell, Ed Mitchell, Lynne Sachs, and Gede Tjok. The dance evolved through discussion and movement exercises as a collective response to the images from Mambai. This project was supported by an artist-in-residence grant from Downtown Community Television (New York, NY).
In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshack which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. The shack had no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal. In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her Duneshack images, sounds and writing to filmmaker Lynne Sachs and invited her to make a film with the material.