VIRTUAL VIEWS: GARRETT BRADLEY’S AMERICA, A LIVE Q&A

MoMA talk will focus on Garrett Bradley’s multichannel video installation America
Who: Garrett Bradley, Thelma Golden
What: Live Q&A about Projects: Garrett Bradley
Where: MoMA YouTube
When: Thursday, January 21, free, 8:00
Why: In November, MoMA posted “Re-Imaging America,” a conversation between artist Garrett Bradley, Studio Museum in Harlem associate curator Legacy Russell, and Studio Museum in Harlem director and chief curator Thelma Golden, discussing Bradley’s multichannel video installation America, continuing at MoMA through March 21 as part of the Elaine Dannheisser Projects Series. The work combines twelve new black-and-white short films (about Harry T. Burleigh, James Reese Europe, the Negro National League, and other historical subjects) and a score by Trevor Mathison and Udit Duseja with archival footage of the unreleased 1914 film Lime Kiln Club Field Day, which is thought to be the oldest-surviving feature-length work with an all-Black cast, a love story starring Bert Williams and Odessa Warren Grey. “I knew that Bert was required to wear blackface, and I did not, even in my initial introduction to the material, feel that it took away from his brilliance. But it became critical to prove that, and to prove it using what already existed within the original footage,” Bradley says in the talk.
“That is one of the exciting challenges in working with archives — the prospect of revealing a new dimension of something that appears fixed. How could I make it clear that Bert’s power and creative genius were not confined to his performance alone? His vision extended far beyond our immediate gaze as audience members, and could be seen in-between the scenes themselves. It could be seen in a simple portrait, unmasked and still. I wanted to open America with these moments that made clear who he was, separate from the character in the film and outside of the narrative. It was important we saw him giving direction and in negotiation with the surrounding power structures. It became all the more critical that we had a moment to sit with certain frames — certain truths — that are less discernible at seventeen frames per second.” On January 21 at 8:00, Golden, who curated the exhibition with Russell, will host a live “Virtual Views” Q&A with Bradley on MoMA’s YouTube channel; museum members can send in questions beforehand here. The discussion will also be archived for later on-demand viewing, and you can check out three audio clips of Bradley delving into her work here.
AMERICAN SELFIE: ONE NATION DIVISIBLE THROUGH THE LENS OF ALEXANDRA PELOSI
Who: Alexandra Pelosi, Sheila Nevins
What: Live discussion (preregister to watch film in advance)
Where: The Temple Emanu-El Streicker Center online
When: Tuesday, January 19, free with RSVP, 6:00
Why: Documentary filmmaker Alexandra Pelosi turns her camera lens on the country in her latest work, American Selfie: One Nation Shoots Itself. Over the course of one year, Pelosi journeyed across the United States, filming citizens, immigrants, and tourists as they gathered for various causes (abortion, gun rights, BLM, masks) and took pictures with their phones of themselves and others, bitterly fighting over hot-button issues or waiting online for the latest iPhone, cheering people like heroes as they emerged from the store with the treasured item under their arm. “I think phones are much more dangerous than guns,” Pelosi, the daughter of Speaker of the House Nancy Pelosi, told the Guardian last October.
Pelosi, who has previously made such nonfiction films as Journeys with George, Right America: Feeling Wronged – Some Voices from the Campaign Trail, Fall to Grace, and Goodbye, Congress, clearly chooses her targets, but even so she reveals an America that we are all aware of but don’t always get to see so directly. Unsurprisingly, the film has gotten mostly good reviews from critics, but its online rating is low, perhaps because Americans on all sides of the political spectrum are not so fond of what they really look like these days. On January 19 at 6:00, Pelosi will speak with MTV Studios documentary films head Sheila Nevins in the program “American Selfie: One Nation Divisible through the Lens of Alexandra Pelosi.” The film ends prior to the 2020 election, so it should be fascinating to see what Pelosi has to say about what has happened since. Free registration is required and comes with access to the film.
LYNNE SACHS: BETWEEN THOUGHT AND EXPRESSION
Museum of the Moving Image
January 13-31, $5 per program ($12 for Film About a Father Who), $30 all-series pass
www.movingimage.us
www.lynnesachs.com
For more than three decades, experimental documentary filmmaker Lynne Sachs has been shining an intimate light on our hearts and minds in poetic works that explore who we are and our place in the world. The Memphis-born, Brooklyn-based auteur is being celebrated this month with the Museum of the Moving Image virtual festival “Lynne Sachs: Between Thought and Expression,” being held in conjunction with the release of her latest work, Film About a Father Who. From January 13 to 31, MoMI will screen nineteen of Sachs’s films, from 1986’s four-minute Still Life with Woman and Four Objects, in which a woman goes through daily routines like preparing lunch, to the world premiere of the four-minute Maya at 24, comprising scenes of Sachs’s daughter, Maya, at six, sixteen, and twenty-four.
The festival is organized into five programs: “Early Dissections,” “Family Travels,” “Time Passes,” and the feature-length Your Day Is My Night and Tips of My Tongue. Each ticket comes with access to a new interview between Sachs and assistant curator Edo Choi delving into Sachs’s career and her unique, unconventional style, which evokes such avant-garde filmmakers as Chantal Akerman, Bruce Conner, Maya Deren, Bruce Naumann, and Martha Rosler. Sachs will also participate in the live, free “Discussion with the Sachs Family” on January 19 at 7:00 with her brother, Ira Sachs Jr., and documentarian Kirsten Johnson (Cameraperson, Dick Johnson Is Dead), introduced by MoMI curator Eric Hynes.

Chinese immigrants take stock of their lives in Lynne Sachs’s Your Day Is My Night
Sachs’s films invite us into her personal life as well as the life of others. Which Way Is East (1994) takes us on her trip to Vietnam with her sister Dana, who says when Lynne gives her the camera, “Lynne can stand for an hour finding the perfect frame for her shot. It’s as if she can understand Vietnam better when she looks at it through the lens of her camera. I hate the camera; the world feels too wide for the lens, and if I try to frame it, I only cut it up.” Lynne’s framing is extraordinary, unfurling in a calm, hypnotic pace that can be claustrophobic in its immediacy. In 2013’s Your Day Is My Night, Sachs documents a group of Chinese immigrants crammed into a closetlike apartment in Chinatown, where they ponder the differences between their lives in America and their native country and wonder if they made the right choice in coming here. There’s a fascinating kind of intervention when a young Puerto Rican woman moves in with them. And in 2007’s The Small Ones, Sachs shares the story of her Hungarian cousin Sandor Lenard, who during WWII in Italy was tasked with “washing, measuring, and cementing the bones of American dead.” His straightforward narration is accompanied by abstract images of war and slow-motion home movies of children at a birthday party.
In an essay Sachs wrote about the four-minute 1987 silent short Drawn and Quartered, depicting a naked man and woman divided into four frames, exploring the tacit nature of the human body, she explained how she felt at the film’s San Francisco premiere: “Within those few painful minutes, the crowd went from absolute silence, to raucous laughter, and back to an exquisite quiet. I was shaking.” That’s how you’re likely to feel as you experience Sachs’s work all these years later.

Lynne Sachs takes a revealing look at her dad in Film About a Father Who
FILM ABOUT A FATHER WHO (Lynne Sachs, 2020)
January 15-31, $12
www.movingimage.us
www.lynnesachs.com
“We’re pretty candid about who Dad is, and we’ve seen him through a lot, but we’re also able to shift what we might recognize as who he really is to what we want him to be,” experimental documentarian Lynne Sachs says in Film About a Father Who, a revealing look at the patriarch of her seemingly ever-expanding family, her dad, Ira Sachs Sr. Inspired by Yvonne Rainer’s seminal 1974 work A Film About a Woman Who . . . , a cinematic collage exploring sexual conflict, and Heinrich Boll’s 1971 novel Group Portrait with Lady, Sachs’s movie consists of footage taken over a period of fifty-four years, beginning in 1965, using 8mm and 16mm film, VHS, Hi8, Mini DV, and digital images, edited by Rebecca Shapass. Now eighty-four, Ira Sachs Sr. was a sex-loving, pot-smoking minor-league hotelier, a neglectful, emotionally unavailable husband and father, both selfish and generous, carefully guarding secrets that Lynne, her sister, journalist and author Dana Sachs, and her brother, filmmaker Ira Sachs Jr., discuss with their six half-siblings, children their father had with other wives and girlfriends, some of whom they did not know about for many years.
Ira Sr.’s mother, Rose Sachs, known as Maw-maw, who left him when he was young, says of his womanizing, “I can’t stand that way of life.” His first wife, Lynne’s mother, Diane Sachs, speaks about what an easy decision divorcing him was. “Marriage was just a lot of being up at night, going to the window, wondering when he was coming home,” she explains. His second wife, Diana Lee, says through tears, “He’s a mistake.” Yet nearly all the women in his life, relatives and companions alike, profess their undying love for the long-haired, bushy-mustached man who was able to cast a spell over them despite, at least outwardly, not appearing to be a particularly eloquent Don Juan type and never remaining faithful. But there’s also more than a hint of psychological abuse he suffered at the hands of his mother. “She treated me as an enemy,” he says.
Perhaps it’s not surprising that the first three children of such a secretive man all went into the storytelling arts, mixing fiction and nonfiction in film and literature; Ira has won awards for such films as Forty Shades of Blue and Love Is Strange, Dana’s books include the novel If You Lived Here and the Vietnam memoir The House on Dream Street, and Lynne’s documentaries range from Investigation of a Flame and Sermons and Sacred Pictures to Your Day Is My Night and States of UnBelonging. There are numerous shots of family members filming other relatives; at one point, Lynne is filming Ira Jr. filming Ira Sr. while watching home movies on the television. A Film About a Woman Who . . . , which features music by sound artist Stephen Vitiello, is a striking portrait of an unusually dysfunctional family, a true story that has been in the making for more than a half century and even now provides only some of the answers. Perhaps you can find out more when it begins streaming January 15-31 in the Museum of the Moving Image festival “Lynne Sachs: Between Thought and Expression”; Sachs will participate in a “Discussion with the Sachs Family” on January 19 at 7:00 with her brother Ira and documentarian Kirsten Johnson, introduced by MoMI curator Eric Hynes.
LYNN HERSHMAN LEESON’S THE ELECTRONIC DIARIES

Still from Lynn Hershman Leeson’s The Electronic Diaries (1984–2019) (courtesy the artist and Bridget Donahue, New York)
Who: Lynn Hershman Leeson
What: Special screening and conversation
Where: The New Museum online
When: Tuesday, January 12, free with RSVP, 8:00
Why: In advance of her upcoming “Twisted” exhibition at the New Museum, which opens June 30, Cleveland-born, San Francisco–based artist Lynn Hershman Leeson will present a free screening of her video The Electronic Diaries, which she has been compiling since 1984, examining her life in such segments as “Confessions of a Chameleon,” “Binge,” “First Person Plural,” and “Shadow’s Song.” Part of Rhizome and C-Lab Taiwan’s “First Look: Forking PiraGene,” the screening will be followed by a conversation with the artist.
GOLD DERBY INFLUENCERS SERIES: TED LASSO

Costars and writers Brendan Hunt and Jason Sudeikis will discuss Ted Lasso at live Gold Derby webinar
Who: Jason Sudeikis, Hannah Waddingham, Brendan Hunt, Brett Goldstein, Tom O’Neil
What: Watch party and live Q&A
Where: Gold Derby
When: Monday, January 11, free with RSVP, 8:00
Why: One of the breakout hits of the pandemic has been Apple TV’s hysterical fish-and-chips-out-of-water comedy Ted Lasso. The show was expanded from a character Jason Sudeikis played in ESPN promos in 2013-14, an ever-positive Division II college football coach hired to run the flailing AFC Richmond soccer team in England, even though he knows nothing about the sport. You can learn more about the show on January 11 at 8:00, when executive producer, cocreator, writer, and star Sudeikis, Hannah Waddingham (team owner Rebecca), Brendan Hunt (producer and writer who plays the strange Coach Beard), and Brett Goldstein (writer who plays aging star Roy Kent) join Gold Derby founder and editor Tom O’Neil for a live webinar. But don’t expect to find out how the offside call works in soccer. “Will you explain to me how that was offside? No! I’m asking you. Seriously! Explain offside to me. It makes no sense,” Lasso admits in one episode.