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Leave it to Jean-Luc Godard and Anne Marie Mieville to figure out how to use television to reveal the latent brilliance of a child. Created for French television during the radical days of the late 1970s , “France/tour/detour/deux enfant” (1978) is an intimate, provocative and quotidian video essay that uses avant-garde cinema’s techniques in a visual experiment that will change anyone’s perception of the developing mind of a human being.
Tonight Lynne Sachs will discuss the way that “France/tour…” influenced her own work as she reflects on the presence of childhood in her twenty-year film career. Beginning in her early twenties when the ambiguity of femininity seemed daunting and problematic to more recent years when motherhood has given her quick access to the conundrums of youth, Sachs, like Godard and Melville, ponders her relationship as an artist to this unavoidable eighteen year odyssey. Sachs will screen Photograph of Wind (3 min., 2001), Atalanta: 32 Years Later (5 min. 2006), and The Last Happy Day (38 min.) in their entirety along with brief scenes from The House of Science (1991) and Wind in Our Hair (2010).
Program:
France/Tour/Detour/Deux Enfants by Jean Luc Godard and Ann Marie Mieville
(excerpt from 12 part TV series, 1977, France)

Godard and Mieville take a detour through the everyday lives of two children in contemporary France. Sachs will present excerpts from the series.

Photograph of Wind by Lynne Sachs
(4 min.,16mm, b&w and color, 2001)

“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.” (Lynne Sachs)
“Sachs suspends in time a single moment of her daughter.” Fred Camper, Chicago Reader

Atalanta: 32 Years Later by Lynne Sachs
(5 min. color sound, 16mm to video, 2006)
A retelling of the age-old fairy tale of the beautiful princess in search of the perfect prince. In 1974, Marlo Thomas’ hip, liberal celebrity gang created a feminist version of the children’s parable for mainstream TV’s “Free To Be You and Me”. Now in 2006, Sachs dreamed up this new experimental film reworking, a homage to girl/girl romance.
“Very gentle and evocative of foreign feelings.” George Kuchar
The Last Happy Day by Lynne Sachs
( 38 min. 2009)

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.
“A fascinating, unconventional approach to a Holocaust-related story … a frequently charming work that makes no effort to disguise an underlying melancholy.” George Robinson, The Jewish Week
Excerpts from:
The House of Science: A Museum of False Facts
(30 min., 16mm,1991)

“Throughout The House of Science an image of a woman, her brain revealed, is a leitmotif. It suggests that the mind/body split so characteristic of Western thought is particularly troubling for women, who may feel themselves moving between the territories of the film’s title –house, science, and museum, or private, public and idealized space — without wholly inhabiting any of them. This film explores society’s representation and conceptualization of women through home movies, personal reminiscences, staged scenes, found footage and voice. Sachs’ personal memories recall the sense of her body being divided, whether into sexual and functional territories, or ‘the body of the body’ and ‘the body of the mind.’” (Kathy Geritz, Pacific Film Archive)

Wind in Our Hair/Con viento en el pelo
(16mm, Super 8 and digital on video, English and Spanish, 2010)

“Inspired by the writings of Julio Cortazar, whose work not only influenced a generation of Latin American writers but film directors such as Antonioni and Godard, Lynne Sachs’ Wind in Our Hair/Con viento en el pelo is an experimental narrative that explores the interior and exterior worlds of four early-teens, and how through play they come to discover themselves and their world. “Freedom takes us by the hand–it seizes the whole of our bodies,” a young narrator describes as they head towards the tracks. This is their kingdom, a place where–dawning fanciful masks, feather boas, and colorful scarves — the girls pose as statues and perform for

German postcard by Film-Foto-Verlag, nr. G 101, 1941-1944. Photo: Star-Foto-Atelier/Tobis.

Austrian actress Heidemarie Hatheyer (1918-1990) appeared in 43 films between 1938 and 1988. After the war she was forbidden to act in films for some years, because of her work in the Nazi propaganda film Ich klage an.

Heidemarie Hatheyer was born in Villach, Austria, in 1918. She was born from an extramarital liaison between Mary Feucht nee Nechansky and Paul Hatheyer. She grew up in Klagenfurt, where her parents were later married for a time. After finishing high school she started as a journalist but she went to Vienna to play at the cabaret Atelier am Naschmarkt. Heidemarie Hatheyer joined the Theater an der Wien in 1936. Here she played a small role next to Zarah Leander in the operetta Axel an der Himmelstur (Axel at Heaven’s Gate) with music by Ralph Benatzky and lyrics by Paul Morgan and Hans Weigel. In 1937 she joined the Munchner Kammerspiele, and in 1942 the Staatstheater Berlin (State Theater in Berlin). She was discovered for the film by mountaineer filmmaker Luis Trenker. He asked her for Der Berg ruft!/The Mountain Calls (1938, Luis Trenker), in which she became the leading lady. She signed a contract with Tobis Films, and appeared in Ein ganzer Kerl/A Regular Fellow (1939, Fritz Peter Buch) opposite Albert Matterstock. Her title role in Die Geierwally/Wally of the Vultures (1940, Hans Steinhoff) became the greatest success of her career. Till the end of the war she appeared in such well-known films as Der grosse Schatten/The Big Shadow (1942, Paul Verhoeven) and Die Jahre vergehen/The Years pass (1944, Gunther Rittau), but she also acted in the Nazi propaganda film Ich klage an/I Accuse (1941, Wolfgang Liebeneiner). This film was intended as a preparation and secret promotion for Hitler's euthanasia program.

In 1945, the Allied forces forbade Heidemarie Hatheyer to play in films, because of her work on Ich klage an. They allowed her to continue working at the theatre, and she played on stage in Germany, Switzerland and Vienna. After the ban was lifted in 1949, she could continue her film career successfully. To her well-known films of the 1950's belong Dr. Holl/Affairs of Dr. Holl (1951, Rolf Hansen), Das letzte Rezept/Desires (1952, Rolf Hansen) with O.W. Fischer, Punktchen und Anton/ Punktchen and Anton (1953, Thomas Engel), Sauerbruch - Das war mein Leben/The Life of Surgeon Sauerbruch (1954, Rolf Hansen), Die Ratten/The Rats (1955, Robert Siodmak) with Maria Schell, and Glucksritter/A Modern Story (1957, Arthur Maria Rabenalt) with Paul Hubschmid. She was from 1960 to 1968 a member of the Burgtheater in Vienna. In 1984 she returned here as a guest. She was awarded the Filmband in Gold twice, first in 1984 for lifetime achievement, and in 1989 for Best Actress in Martha Jellneck (1988, Kai Wessel). She played her last role in three episodes of the serial Diese Drombuschs/These Drombuschs (1989, Michael Gunther, Michael Werlin). In 1990 Heidemarie Hatheyer died in Scheuren bei Forch, Switzerland, aged 72. Heidemarie Hatheyer was first married to director Willfried Feldhutter and from 1952 on she was married with the author Curt Riess. She had two daughters from his first marriage, Veronica, and Regine, the latter has already died. Her granddaughter is also an actress.

Sources: Thomas Staedeli (Cyranos), Rudi Polt (IMDb), H.M. Bock (Filmportal.de), Wikipedia and IMDb.