FRIDAY, APRIL 11 – 7:30 PM
SUNDAY, APRIL 13 – 7:30 PM

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It seems to me then as if all the moments of our life occupy the same space as if future events already existed and were only waiting for us to find our way to them at last, just as when we have accepted an invitation we duly arrive in a certain house at a given time. — W.G. Sebald

Before his untimely death at 45, Jonathan Schwartz built a formidable body of work as one of the most promising and accomplished experimental filmmakers of the 21st century. A professor at the School of the Museum of Fine Arts in Boston and Keene State College in New Hampshire, his 16mm works are fragments of fleeting spectral moments, navigating landscapes as varied as the glaciers of Iceland and a canopy of trees near his Vermont home with the same sense of wonder. Combining the ephemerality of childlike awe with grief and mortality, his work often parallels that of authors like W.G. Sebald in its attempts to wrestle with the elusiveness of memory through found objects, readings, and his elliptical imagery, creating a form that is wholly new and enthralling.

Spectacle is proud to present the first program of Schwartz’s work to screen in NYC since 2019, a rare opportunity to view much of it as intended, on 16mm in an intimate environment. The event will be introduced by Jonathan’s close friends Rebekah Rutkoff and Emily Drury. Rutkoff is a NYC-based writer. She is the author of The Irresponsible Magician: Essays and Fictions and Double Vision: The Cinema of Robert Beavers. Drury is a landscape designer based in Harrisville, New Hampshire.

A LEAF IS THE SEA IS A THEATER
Dir. Jonathan Schwartz, 2017.
United States. 17 mins, 16mm to digital.

You cannot describe a house on fire until the actual event takes place. Perhaps there will be no fire. Either you’ll have to deny the description as a fiction, or burn the house in accordance with the script. — Dziga Vertov

THE CRACK-UP
Dir. Jonathan Schwartz, 2017.
United States. 17 mins, 16mm to digital.

“… an excursion through fear, near collapse, and transformation that takes its name from F. Scott Fitzgerald’s 1936 autobiographical essay. Reflecting on life’s ‘process of breaking down,’ it is both extremely personal and also relevant to the difficult times we live in. With sublime 16mm footage of glaciers, monumental snow-covered landscapes, and an icy, roiling sea, The Crack-Up alternates strident sounds and brash rhythms and gestures of the camera with moments of arresting fragility and grace. Danger, death, the unexpected chaos, and destruction of life are all evoked with almost no human presence in the image. The sound of wind, rain, the cracking of frozen earth occasionally gives way to two voices: a female voice reciting from Fitzgerald’s text and a male voice struggling to use language at all. Schwartz’s film seems to take as its challenge Fitzgerald’s admonition to simultaneously ‘see that things are hopeless and yet be determined to make them otherwise.'” — Irina Leimbacher

IF THE WAR CONTINUES
Dir. Jonathan Schwartz, 2012.
United States. 5 mins, 16mm.

“Jumpers move from right to left like the carriage return of a typewriter, while the landscape and rays of sunlight thrust lines in the opposite direction. The somehow nostalgic, slowed-down editing of the images contrasts with the preeminence of pounding sound, accompanied by a degraded, almost unintelligible narration from a cassette tape about the life and work of the German writer. As Schwartz points out, the soundtrack shares some similarities with Popul Vuh’s electronic score at the opening of Werner Herzog’s The Great Ecstasy of the Sculptor Steiner (1974). This sound has the quality of a forgotten mantra or a robotic plea. The repeated motion swerves towards Nietzsche’s idea of eternal return: the temptation and fascination of going back to the origins by jumping away.” — Monica Saviron

FOR A WINTER
Dir. Jonathan Schwartz, 2007.
United States. 5 mins, 16mm.

“The camera remains static to capture the accelerated movements, shot frame-by-frame, of ice skaters on a sunny winter morning. They are not portrayed as living things—they don’t have the ability to speak, and they look like robots from another planet whose language is the sound of sharp razors on thick ice. They may very well be ghosts, and less alive than the figures of nature in an old book.” — Monica Saviron

WINTER BEYOND WINTER
Dir. Jonathan Schwartz, 2016.
United States. 11 mins, 16mm.

“Winter Beyond Winter confirms his gift for lyrically transposing what’s close at hand, in this case drawing a reverie of fatherhood from the short, sharp days of New England winter. The camera moves from laden trees to dazzled earth while on the soundtrack a boy reads. From here we follow an older man carrying skates and a boom mic into the woods. He turns a few elegant arcs around a small pond, the camera watching from the side before shaking off its melancholy and taking to the ice. One skater holds the image, the other the sound; the shot is their union.” — Max Goldberg

NEW YEAR SUN
Dir. Jonathan Schwartz, 2010.
United States. 3 mins, 16mm.

“… Schwartz approaches light traveling through water in all its forms. His macro lens strives to get closer to the essence, to the transparency of things, and yet, the tenebrous and doomed cry of a church’s bell, and the ascending, unstoppable pitch that accompany the images end up close to the sound of a derailed train—and the unfocused, unclear vision that comes with it.” — Monica Saviron

 

VALI: THE WITCH OF POSITANO
Dir. Sheldon Rochlin and Flame Schon, 1967
United States / United Kingdom / Italy, 62 mins
In English

WEDNESDAY, APRIL 30 – 7:30 PM

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It is in the bohemian’s nature to be a multihyphenate—or in the multihyphenate’s nature to be bohemian. Take Vali Myers, an Australian artist, dancer, and occultist, and self-proclaimed “creatrix.” She’s the captivating subject of Sheldon Rochlin and Flame Schon’s 1965 documentary Vali: The Witch of Positano. Instantly recognizable by her shock of red hair, facial tattoos, gold teeth, and kohl-lined eyes, Myers procured art related to her many talents: surreal, fluid paintings and drawings which revolved around primogenial magic and femininity, often depicting arcane supernatural figures. Myers was born in Sydney in 1930 to a merchant navy officer and a violinist, and by age 14 she had moved to St. Kilda, where she worked in factories and as an art model to pursue dance, her main passion beyond drawing.

By 17, Myers was lead dancer of the Melbourne Modern Ballet Company, and two years later she boarded a ship to Paris. The city was ravaged by war, and Myers, unable to find work, fell into a subculture of refugees, writers, and artists. (During this time, Dutch photographer Ed van der Elsken photographed her for his seminal roman à clef Love on the Left Bank and made her the lead of his 1972 film Death in Port Jackson Hotel.) Myers was imprisoned multiple times for vagrancy and eventually expelled from Paris, only to return years later, at which point her artwork was discovered by The Paris Review‘s George Plimpton (a portfolio of her drawings ran in the magazine’s spring 1958 edition).

Flitting between Europe, Melbourne, and New York, Myers developed an artistic network, associating with figures like Abbie Hoffman and Patti Smith, and was encouraged to exhibit her talents by Andy Warhol and Salvador Dalí. After leaving Paris to quell her opium addiction, Myers settled in Positano in Southern Italy, where her cottage by the sea became a wildlife sanctuary, as if plucked from a fairy tale. Several films were made about Myers and her artistry, including Death in Port Jackson Hotel, Vali’s World (1984), Vali’s Diary (1984), The Tightrope Dancer (1989), and Painted Lady (2002), but none were as local to the most earnest slice of her life as Vali.

Spectacle is pleased to host Toronto-based critic and curator Saffron Maeve for a special event. Her series Contours is dedicated to films that thematize arts like painting, sculpture, sketching, and performance. In Rochlin and Schon’s hourlong experimental documentary, we visit Myers at her Positano dwelling, where she is seen dancing, chatting with friends and visitors, rolling in bed with her lover, tending to animals, engaging in occult rituals, and briefly painting. The film hop-skips between reality and phantasm, acting as an affective archive for this nonconformist artist to play within. Dreams are indulged, fantasies are taken as fact, and oblique rituals make for hyperreality. It’s clear Myers’ flavor of celebrity is unusual, but the filmmakers tend to both her worldview and public perception, keeping in mind that art is rarely made consciously.

Special thanks to Saffron Maeve and filmmaker Flame Schon.

CONTENT WARNING: These films contain flashing lights which may not be suitable for those with photosensitive epilepsy.

Saul Levine does not stop. He is an uncompromising and relentless filmmaker whose work reflects his experimental verve. As far back as the 1960s, he has shown that film is a material object, that it can be twisted, warped, chopped, and stretched to produce immersive and challenging experiences. On April 4, we are pleased to host Levine—alongside a troupe of filmmakers and thinkers close to him—for a night honoring his legacy.

In addition to the impressive body of work Levine has assembled over the decades, he has imparted a love and understanding of experimental filmmaking to younger generations as a professor at the Massachusetts College of Arts and Design, among them Annalisa D. Quagliata Blanco. Her work championing his films, alongside Byron Davies and Lumia Lightsmith, led to the presentation of a Saul Levine Retrospective that toured Mexico last year. Tonight we present an abridged version of that retrospective, with Levine in person to discuss his work.

The program notes for the Saul Levine retrospective in Mexico are available here.

All 16mm prints are from Levine’s personal collection.

FRIDAY, APRIL 4 – 7 PM

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STAR FILM
1969, 15 mins, 16mm

“I began this film in 1968. I had painted, scratched, scraped and bleached film since I began making films in 64/65 mainly in regular 8 and usually with photo-chemical representations. In this film I decided to paint and bleach 16mm clear and black leader thinking from the beginning that I was making an emulsion that light would shine through. I was making both positive and negative images that could be contact printed. The film is made from a painted and bleached original a little over 100 ft that has been contact printed onto b&w and color positive and negative film. I used stars, circles and crescents to ground the viewer and make clearer the meditation on positive and negative space. I also wanted to make a completely camera-less film.” — Saul Levine

BIG STICK / AN OLD REEL
1973, 10 mins, 16mm

“Beginning in 1967, with roughly a dozen short films under his belt, Levine spent six years reediting 8-mm prints of the Chaplin shorts Easy Street (1917) and In the Park (1915), incorporating television images of an antiwar protest in which the Boston filmmaker participated. The result was The Big Stick/An Old Reel (1967-73), his self-tutorial in montage, the ascesis of narrative, and the beauties of caustic rhythms. In the early stages of that work’s construction, Levine was teaching filmmaking at Tufts University, in Medford, Massachusetts, but he would soon be fired, if not specifically for his role in occupying a campus building during a protest over the dismissal of an African-American secretary, then for his political activism generally.” — P. Adams Sitney

NEW LEFT NOTE
1982, 27 mins

“‘New Left Note is a study of radical politics in radical film form.” — Marjorie Keller

IS AS IS
1991, 3 mins, 16mm

“A portrait of a mother with her arms full in the backyard bathing her twin babies. As if the early spring light sings and dances. Later the father cooks a fish. Marjorie Keller is the mother.” — Saul Levine

FIVE-MINUTE INTERMISSION

AS IS WAS
1995, 4 mins, 16mm

“This film was shot the same weekend as Z (Zee Not Zed), when Stan Brakhage was visiting University of Rhode Island, where Marjorie Keller was teaching at the time. They get some coffee, then go for a walk on a beach in an old whaling harbor.” — Saul Levine

FALLING NOTES UNLEAVING
2013, 13 mins, 16mm

“Falling Notes Unleaving is made from footage gathered in the fall of 2012 and edited in early 2013. Anne Charlotte Robertson, friend and fellow Super8 filmmaker, died. I attended her funeral and filmed the burial of her ashes. She was famous for her diary films and I thought it important to honor her work by filming an event that she could not. The burial took place in a wonderful old cemetery in Framingham, Massachusetts, which lightened a sad event. The film also includes footage shot in the mountains outside of Portland and the streets of Cambridge and Somerville in Massachusetts. It is not a diary. The title and the film reflect Gerard Manley Hopkins’ poem ‘Spring and Fall.’ Luther Price, Bob Brodsky, Tara Nelson, Gordon Nelson, Liz Coffey, Heather Green, her daughter Rosealee, her dog Blue, and many other people and animals appear in this film.” — Saul Levine

NOTE TO PATI
1969, 7 mins, 16mm

“Note on snowstorms in February-March ’69. The restoration of the landscape begun to show friends on west coast violent beauty of this period. Childhood memories, snowball fights, sledding, etc., and how I felt about Medford where I live kept entering into the film. The principal birds in the film are the blue jay and the crow, both beautiful, smart and ruthless.” — Saul Levine

LIGHT LICKS: PARDES: COUNTING FLOWERS ON THE WALL
2018, 13 mins, 16mm

“Light Licks are a series of films I began in 1999. The films are made frame by frame, often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. Light Licks are ecstatic flicker films inspired by jazz and mystic visionary practice, and extend my interest in the ways film can be a medium of visual improvisation. ‘Pardes’ is the ancient Persian word for walled garden. In Hebrew and Aramaic it means paradise, heaven, the garden of Eden, the peak or terminus of ecstatic visionary, trance, flight, wild flowers, morning glories, an urban jungle an eden for a petite Tyger.” — Saul Levine

LIGHT LICKS: AMEN
2017, 6 mins, 16mm

“A stark portrait of my father at daily morning prayers, to which I respond, AMEN.” — Saul Levine

NOTE TO TETSUA
2018, 1 min, 16mm

Moon flight
loud silence
soft dark
hard light
a Ray o gram
made with a camera
out of sight
— Saul Levine

Special thanks to Saul Levine, Byron Davies, Lumia Lightsmith, Stephen Cappel, and Kathy Del Beccaro. Davies and Lightsmith co-programmed this screening, in addition to adapting and writing the program notes. Davies’ research project, “Materialism and Geographic Specificity in the Philosophy of Film,” forms the basis for these screenings, which are supported by Salón de Cines Múltiples. Additional support was provided by Laboratorio Experimental de Cine.

FRIDAY, APRIL 4 – 10 PM

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WARNING: These films contain flashing lights which may not be suitable for those with photosensitive epilepsy.

Destiny supplants space and time as La Cueva, Spectacle, and the MassArt Film Society become perfectly superimposed. The show begins with a vintage Super 8 print of Warm Broth (1988), one of Luther Price’s most iconic films from his period of films made under the moniker “Tom Rhodes,” while also highlighting the participation in that film of Laurie McKenna, a former student of Levine and friend + collaborator of Price whose video Why the Long Face (1997) we will also screen. By rendering tribute to Levine, we will also attend to his own talents at rendering tribute to others: to Marjorie Keller, Anne Charlotte Robertson, to Stan Brakhage, to his Father, and—especially in this program—to Luther Price (aided in this tribute by short films by Laurie McKenna, Annalisa D Quagliata Blanco, and Linnea Nugent). Not for the only time in this retrospective, these artists will go searching for each other in that most interstitial space of transit: dreams.

The program notes of the Saul Levine retrospective in Mexico are available here.

WARM BROTH
Dir. Luther Price/Tom Rhodes, 1988
35 mins, Super 8mm
Print provided by Canyon Cinema.

“Everything will be ok, just close
your eyes little thing
go to sleep little fuck
feel my hand on your warm
forehead
It’s cold isn’t it? Ice cold.

“Dream of something real sweet
for mommy
Mommy likes sweet things
Dream of a merry-go-round and
cotton candy

“Mommy’s hand got all warm
resting on your tiny head
See, look at mommy’s hand
It got all warm now

“You’re running a slight fever
Mommy will get you some
water
And you’re running a slight
fever

“Little fuck don’t have to go to
school tomorrow
but no playing in the yard
Someone could see you
And I’ll be an unfit mommy
You’ll have to stay in all day

“but now, dream of the prettiest
flower for mommy
I’ll make you oatmeal first thing
And you could tell me the color
of the –
prettiest flower.”

-Luther Price/Tom Rhodes

WHY THE LONG FACE
Dir. Laurie McKenna, 1997
26 mins

A former student of Levine and collaborator and friend of Price, McKenna made this short about Nancy Luce, a desperate, creative, Martha’s Vineyard oddball of the mid 1800s. Using old photographs, puppets, toy models, and off-the-cuff footage, McKenna creates a lonely work as daring and personal as that of her teachers and peers.

GOODTIME CHARLIE BIRTHDAY
Dir. Laurie McKenna, 1997
2 mins

A film of stuffed animals, haunted by a lullaby. Much like Price, McKenna makes visible the horror hiding beneath the surface of familiar American scene audio: rehearsal cassette recording, vocals: Laurie and Tom Rhodes (Luther), the Fabulous Turquoise Rain and Shines, 1987.

AGGREGATE
Dir. Laurie McKenna, 2020
6 mins

McKenna’s pandemidiario conjures desert punk powering the aggregate of memory and charcoal and grounds national rupture in a sonic package.

“A whole formed by combining several (typically disparate) elements” – Laurie McKenna

OUTCRY (FOR LUTHER)
Dir. Annalisa D. Quagliata Blanco, 2015
1 min

“Luther Price’s handmade film work demonstrated the vagaries of trauma internal to the medium itself: the simultaneously world-destroying and world-repairing possibilities of unmaking and remaking of the body of the film strip. Annalisa Quagliata has taken up the lessons of Price’s handmade film course at MassArt, maintaining their queer resonances while reshaping them with the perhaps unanticipated application to the unmaking and remaking of myths of the Mexican body politic. This 2016 tribute to Luther Price, made in that same MassArt course before Quagliata’s return to Mexico, reminds us of the facilitating possibilities of the body in disintegration. A 16mm optical sound bar is the skeleton on which it all hangs.” – Byron Davies

WAS ONCE ONE
Dir. Linnea Nugent, 2023
3 mins

“Was Once one is the auditory artifact of since lost Luther Price speaking on what was once one film that belonged as two.” – Linnea Nugent

CRESCENT
Dir. Saul Levine and Pelle Lowe, 1993
5 mins, Super 8mm
Print provided by Saul Levine.

“A conversation with Pelle Lowe.” – Saul Levine

SCHMATEH IV & SCRAPE
Dir. Saul Levine, 1986
8 mins, Super 8mm
Print provided by Saul Levine.

Two portrayals on one reel. A Portrait of Pelle Lowe and A Portrait of Laurie McKenna aka Bud Scrape.

READY-MADE
Dir. Saul Levine and Pelle Lowe, 1993
4 mins, Super 8mm
Print provided by Saul Levine.

“A film made by Pelle Lowe and myself, READY-MADE is a single work in itself, and also exists as part of a series of works that Pelle and I made reflecting on Manet’s painting OLYMPIA, including it’s reception, it’s relationship to painting, sex work, imperialism, the Paris Commune, sex, drugs and rock roll, ect.” – Saul Levine

Special thanks to Annalisa D. Quagliata Blanco, Saul Levine, Byron Davies, Lumia Lightsmith, Stephen Cappel, Nicolas Cadena, Mono No Aware, and Kathy Del Beccaro.

Davies and Lightsmith co-curated this screening, in addition to providing the program notes. The banner and poster image for this program come courtesy of David Michael Curry, who participated in the filming of Warm Broth. Davies’ research project “Materialism and Geographic Specificity in the Philosophy of Film” forms the basis for these screenings, which are supported by Salón de Cines Múltiples.

THE TRAGEDY OF MAN
(AZ EMBER TRAGÉDIÁJA)
Dir. Marcell Jankovics, 2011.
Hungary. 166 min.
In Hungarian with English Subs.

SUNDAY 4/6 – 5PM
WEDNESDAY 4/16 – 7PM
SATURDAY 4/26 – 10PM

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Adam, Eve, and Lucifer search for the meaning of life and humanity while traveling through mankind’s history and inevitable demise.

In 1957, the Pannónia Film Studio was established, marking the beginning of the golden age of Hungarian animation. Unlike live-action films of the time, animated films faced less scrutiny from political censors, successfully penetrating the Iron Curtain and reaching prestigious Western film festivals like Cannes, and ceremonies such as the Academy Awards. Pannónia became known as one of the top animation studios in the world alongside Disney and Toei. During this period at Pannónia many of Hungary’s most prominent animators honed their craft.

One such director, and probably the most internationally recognized Hungarian animator, is Marcell Jankovics. Jankovics started working at Pannónia as a stage manager, at nineteen, in 1960, before becoming a director there in 1965. In 1973 the government commissioned the first feature-length Hungarian animated film JOHNNY CORNCOB, which Jankovics directed. In 1981 he created his most famous work, SON OF THE WHITE MARE, to international success, even though the film ran into censorship issues because of its anti-marxism interpretation of time. Both films have enjoyed a tenure at Spectacle first playing in 2016 and then in 2022.

In 1983 Jankovics finished writing his magnum opus, THE TRAGEDY OF MAN, based on the dramatic poem by Imre Madách. This epic tale chronicles the journey of Adam and Lucifer from the dawn of humanity to its ultimate demise. Jankovics began production on the film in 1988, just a year before the Iron Curtain fell in 1989. In an interview with Cartoon Brew, he noted, “There were political changes in Hungary which made me freer to express myself and communicate my ideas more clearly.” However, the fall of communism also led to the denationalization of the Hungarian film industry, resulting in the loss of state funding that Jankovics and other animators from the golden age had depended upon.

Jankovics spent the next twenty-three years securing funding, creating one of the fifteen segments of the film, and then waiting for more funding. The film was finally finished in 2011 and is one of the longest-animated films ever made. Some notable funding was received after his Academy Award-nominated short SISYPHUS (1974) was used in a General Motors commercial for the 2008 Super Bowl. Another batch of funding was secured after Rob Allers watched a SON OF THE WHITE MARE bootleg and convinced Disney to hire Jankovics to work on what would ultimately become THE EMPEROR’S NEW GROOVE (2000). Jancovics left pre-production after Disney rewrote the script, stating, “What I had made wasn’t used in the ruined, stupid, kitschy final version.”

Each of the fifteen segments of THE TRAGEDY OF MAN showcases a unique animation style, reflecting various moments in humanity’s past and future. This animation shift enhances the film’s epic scale and deepens its emotional resonance, allowing viewers to experience a broad spectrum of human experiences and philosophies. Despite its critical acclaim, and rich tapestry of artistic expression, THE TRAGEDY OF MAN has rarely screened in the United States outside its original festival run in 2011.

This April, Spectacle invites you to embark on an epic journey through mankind’s past present, and future with Jankovics’ twentieth-century masterpiece, THE TRAGEDY OF MAN.