«A new relationship to language and listening in cinema»: Lynne Sachs on her Sheffield Doc/Fest Retrospective


INTERVIEW: Documentary filmmaker Lynne Sachs speaks on her career as part of Sheffield Doc/Fest's «Ghosts & Apparitions» online focus.

Lauren Wissot
Lauren Wissot
A US-based film critic and journalist, filmmaker and programmer.
Published date: June 17, 2020
       

For the past three decades, experimental doc-maker Lynne Sachs has been collaborating with those both behind, and in front of, her lens. Whether recording encounters on her way from Ho Chi Minh City to Hanoi with her co-director sister Dana (1994’s Which Way is East: Notebooks from Vietnam); or using (her own) children’s performance to mine the life of a distant relative, a Jewish doctor who went from fleeing the Nazis to translating Winnie the Pooh into Latin in Brazil (2009’s The Last Happy Day); or getting to know the undocumented workers sharing «shift beds» in NYC’s Chinatown (2013’s Your Day Is My Night) and the immigrants and people of color who wash and dry and fold throughout the metropolis (2018’s The Washing Society, co-directed with Lizzie Olesker); or simply revisiting a moment in time on Cape Cod «with and for» the late great Barbara Hammer, incorporating the feminist filmmaker’s personal archive into her process of dying (2019’s A Month of Single Frames).

And from June 10 – July 10 these five diverse works will be shared online in the «Ghosts & Apparitions» section of this year’s virtual …


Dear reader. You have already read a free review/view article today (but all industry news is free), so please come back tomorrow or login if you are a subscriber? For 9 euro, you will get full access to around 2000 articles, all our e-magazines – and receive the coming printed magazines.

Login