CONTENT WARNING: These films contain flashing lights which may not be suitable for photosensitive epilepsy.
Saul Levine does not stop. He is an uncompromising and relentless film-maker whose work reflects his experimental verve. As far back as the ’60s, he has shown that film is a material object––and thus, it can be twisted, warped, chopped, and stretched to produce immersive and challenging cinematic 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 that Levine has assembled over the decades, he has also imparted a love and understanding of experimental filmmaking to a new generation of filmmakers through his teachings at The Massachusetts School of Arts and Design (MassArt); among them, Annalisa D. Quagliata Blanco. Her work championing his films, alongside Byron Davies and Lumia Lightsmith, led to the presentation of Saul Levine Retrospective that toured Mexico last year. Tonight, we present an abridged version of said retrospective, with Levine in person to discuss his work.
FRIDAY, APRIL 4 – 7 PM
STAR FILM
1969. 15 mins. 16mm.
A hand-made emulsion film in which a star is reprinted over the course of 15 minutes. Across colors and shadows, Levine creates a simple interstellar experience, as though the screening room is lost in space.
BIG STICK / AN OLD REEL
1973. 10 mins. 16mm.
Between 1967 and 1973, Levine cut up and re-edited Charlie Chaplin’s IN THE PARK and EASY STREET. His dramatic reinvention of both films––with footage of police arresting protestors interrupting the comedian’s antics––stresses Chaplin’s routine pratfalls and thematic interests.
NEW LEFT NOTE
1982. 27 mins.
In addition to his practice as a filmmaker, Levine also worked as the editor of the NEW LEFT NOTES, the official newspaper of Students for a Democratic Society (SDS). This short film chronicles the group’s activities, providing a history of the antiwar movement and its after-waves from 1968-1982.
FIVE-MINUTE INTERMISSION
IS AS IS
1991. 3 mins. 16mm.
Levine films the artist and scholar Marjorie Keller with a baby in her arms. A family film, documenting time spent together under the sun.
AS IS WAS
1995. 4 mins. 16mm.
Marjorie Keller and Stan Brakhage walk by the beach. A quick snapshot of a lovely day––a seabird swoops in at the end.
FALLING NOTES UNLEAVING
2013. 13 mins. 16mm.
After Anne Charlotte Robertson, filmmaker and friend of Levine, passed away, he decided to honor with a film. This is that film.
NOTE TO PATI
1969. 7 mins. 16mm.
A quick and powerful example of Levine’s filmmaking, mixing personal storytelling with furious editing. Also, a wistful portrait of a snow day in New England.
LIGHT LICKS: PARDES: COUNTING FLOWERS ON THE WALL
2018. 13 mins. 16mm.
A series of flowers in bloom, lit up for all to see. Levine, whose tireless approach to filmmaking has been much discussed already, provides evidence of his constant search for new ways of finding beauty through simple means. This film is part of his Light Licks series, which he began in 1999 and continues to build upon.
LIGHT LICKS: AMEN
2017. 6 mins. 16mm.
A portrait of Levine’s father, as well as a subtle and improvisational dance of light inspired by jazz. Also part of Levine’s Light Licks series.
NOTE TO TETSUA
2018. 1 min. 16mm.
The moon floats in front of a light. From the stars to the moon.
Special thanks to Saul Levine, Byron Davies, Lumia Lightsmith, Stephen Cappel and Kathy Del Beccaro. Davies’s 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 (LEC).
