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.

该片提供了一个新的女性化的电影形式，这部电影探讨了女性艺术和科学的代表。结合家庭电影，个人回忆，舞台影像，残存的镜头组成一个复杂的视觉和听觉上的综合体。将一个女孩，有时很难面对的由于年龄增长所必经的事情重新编排成一个丰富的相互联系的整体进行肯定和成长。 导演：Lynne Sachs USA/1991/30min/实验片 导演：Lynne Sachs Lynne Sachs拍电影，表演，玩装置，通过将诗歌、拼贴画、绘画、政治等元素结合起来探索个人观察与更广泛的历史经验之间复杂的关系。自1994年以来，她的5部Essay Film将她带到越南，波斯尼亚，以色列和德国，这些曾经受到战争影响的国家。在这些地方，她尝试将当地人的记忆同她个人的观点相结合进行电影创作。强调电影理论和实践的结合，Lynne也寻求画面和声音的完美呼应，在她的每一部作品中都力求视觉和听觉的和谐统一。自2006年以来，她已经和她的搭档Mark Street合作了一系列戏谑的，多媒体的表演，他们称之为‘XY 染色体项目’。除了忙于流动影像外，Lynne也和他人一起编辑了以‘记录片实验’为主题的《千禧电影期刊》。通过古根海姆博物馆，洛克菲勒和杰罗姆基金会和纽约州艺术委员会的支持，Lynne的电影已经在纽约电影节，圣丹斯电影节和多伦多的图像艺术节，以及在布宜诺斯艾利斯电影节的电影调查环节中上映。旧金山电影中心最近发表的四篇论文全面回顾了琳恩的工作。2012年，林恩在整个纽约市的小剧场演出一系列的“你的白天是我的黑夜”现场电影。然后，她在现代艺术博物馆，温哥华电影节，联合文件，新奥尔良电影节，并在墨西哥，阿根廷和厄瓜多尔等场地播放她筛选完成的长达一小时的完整视频。林恩在纽约大学和新学院讲授实验电影和录像，她住在布鲁克林区。 ---------------------------------------------------------------------------------- The House of Science: a museum of false facts "Offering a new feminized film form, this piece explores both art and science's representation of women, combining home movies, personal remembrances, staged scenes and found footage into an intricate visual and aural college. A girl's sometimes difficult coming of age rituals are recast into a potent web for affirmation and growth."(SF Cinematheque) Charlotte Film Festival, First Prize Experimental; Atlanta Film Festival, Experimental Prize; Black Maria Film Fest, Juror's Award; Humboldt Film Festival, Teffen Filter Award; Museum of Modern Art, Cineprobe; Portland Museum of Art, "Icons, Rebels and Visionaries"; Athens Film Festival, Experimental Prize; Oberhausen Short Film Fest, Germany; Utah Film Festival, First Prize Short Film. Supported by a NEA Regional Arts Fellowship. Director: Lynne Sachs USA/1991/30min/Experimental film Director: Lynne Sachs Lynne Sachs makes films, performances, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany - sites affected by international war-where she tries to work in the space between a community's collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the Millennium Film Journal issue on "Experiments in Documentary". Supported by fellowships from the Guggenheim, Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne's films have screened at the New York Film Festival, the Sundance Film Festival and Toronto's Images Festival as well as a five-film survey at the Buenos Aires Film Festival. The San Francisco Cinematheque recently published a monograph with four original essays in conjunction with a full retrospective of Lynne's work. In 2012, Lynne began a series of live film performances of "Your Day is My Night" in small theaters throughout New York City. She then screened the completed hour-long hybrid video at the Museum of Modern Art, the Vancouver Film Fest, Union Docs, the New Orleans Film Fest and other venues in Mexico, Argentina and Ecuador. Lynne teaches experimental film and video at New York University and The New School and lives in Brooklyn.

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.

Images of a male form (on the left) and a female form (right) exist in their own private domains, separated by a barrier. Only for a moment does the one intrude upon the pictorial space of the other.

两年半的时间里，电影制片人莲恩·萨克斯通过与在以色列的朋友交换个人信件和照片将发生在中东的暴力事件编写并视觉化为实验电影。她关注的核心是战争，土地，圣经。电影是关于丽薇·奥哈永的故事，一位以色列导演和她的母亲死于一场在靠近约旦河西岸基布兹发生的恐怖行为。不偏袒任何一方也无任何评价，影片对丽薇的故事投入惊人的情感，通过家庭电影，电影片段，新闻报道，访谈和书信进入她的生活。

Over a period of 35 years, Sachs shot varied footage of her father, Ira Sachs Sr., a bon vivant and pioneering Utah businessman. This is her attempt to understand the web that connects child to parent and sister to sibling. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

In this illuminating study of cultural contrasts, American filmmaker Lynne Sachs and her sister, Dana, travel north from Ho Chi Minh City to Hanoi, recording conversations with Vietnamese strangers and friends. The sisters' expansive travel diary covers tourism, insights into city life, pervasive culture clashes and a bracing historic inquiry. What begins as a picaresque road trip soon blossoms into a richer social and political discourse.

In "Your Day is My Night", a collective of Chinese performers living in New York City explores the history and meaning of "shiftbeds" through verité conversations, autobiographical monologues and integrated movement pieces. On screen, the seven performers play themselves, while living together with a young Puerto Rican woman in a shift-bed apartment on Hester Street in the heart of Chinatown. The concept of the shift-bed allows us as viewers to see the private become public, as the bed transforms into a stage for our characters to reveal the struggles and joys of their lives. "Your Day is My Night" is a provocative hybrid documentary that looks at issues of privacy, intimacy, and community in relationship to this familiar item of household furniture.