Film Screening | aemi @ CIFF: Contested Legacies – Lynne Sachs and Myrid Carten at Triskel Arts Centre

 

Film Screening | aemi @ CIFF: Contested Legacies – Lynne Sachs and Myrid Carten at Triskel Arts Centre Date/Time
Date(s) - 10/11/2021
8:00 pm - 9:30 pm

Location
Triskel Arts Centre

Website
https://aemi.ie/event/aemi-ciff-contested-legacies-lynne-sachs-and-myrid-carten/

Email
info@aemi.ie

Categories...

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The Irish premiere of Lynne Sachs’ celebrated feature Film About a Father Who screens at Cork International Film Festival at Triskel’s cinema, alongside the world premiere of Myrid Carten’s short film Sorrow had a baby. Both artists will be in attendance for a discussion of their work following the screening.

Both Film About a Father Who and Sorrow had a baby deal, in very different ways, with familial legacy incorporating personal archives and pushing against the traditional boundaries of documentary practice. Myrid Carten’s film Sorrow had a baby is also the first film produced through aemi’s annual film commissioning programme, supported by Arts Council of Ireland.


Myrid Carten, 
Sorrow had a baby, 2021, Ireland, 16 minutes
aemi Film Commission 2021
‘I absorbed the women in my life as I would chloroform on a cloth laid against my face.’ – Vivan Gornick
Sorrow had a baby
 explores the mother-daughter relationship through multiple lenses: memory, beauty, inheritance. Who writes the stories in a family? Who can change them?

Lynne Sachs, Film About a Father Who, 2020, USA, 74 minutes
Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

 

     

 

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