Jonathan Schwartz
2021A Leaf Is the Sea Is a Theater
Jonathan Schwartz
When a character moves off screen, we accept the fact that he is out of sight, but he continues to exist in his own capacity at some other place in the decor which is hidden from us. There are no wings to the screen. Facts are perceptions of surfaces.
A Leaf Is the Sea Is a Theater
How to Beat the High Cost of Living
Robert Scheerer
Susan Saint James, Jane Curtin
Oregon, 1980: Jane, Elaine and Louise are all feeling the effects of inflation and cannot afford the high cost of living. Jane cannot afford a babysitter or get married and if she wants privacy with her boyfriend, she has to sleep in the car. Even worse, her war veteran father comes to live with her to turn her life upside down. Louise lives a happy life with her veterinarian husband, Albert. She runs an antique shop on the side, but since it doesn't take in any profit, the IRS considers it a hobby. She needs to come up with the money to keep it going, or she will be trouble with the IRS. Elaine's husband has left her for another woman and without any money. She is in a constant struggle with banks, power companies, and gas stations. She needs money to get by and also catches the eye of police officer Jack. The local mall is having a contest that features a giant money ball that states it will help fight the inflation.
How to Beat the High Cost of Living
Animals Moving to the Sound of Drums
Jonathan Schwartz
That fall it was not intentional to have a Galway Kinnell book on the table near where the caterpillar in the doorway, feeding on our offerings, became the butterfly, feeding on honey water, staying in our house until we let it go. Or it was not known about the deer in Putney or that the baby birds in the raspberry bushes would cry to us in summer. A beloved, old friend once visited Vermont to do some work for Galway Kinnell and she described a stone table in the field where they ate meals in the afternoon - it sounded like a song and so I looked at the book and from Little Sleep's-Head Sprouting Hair in the Moonlight here is that line: “The still undanced cadence of vanishing”.
Animals Moving to the Sound of Drums
For Them Ending
Jonathan Schwartz
…a poem made of imagery from a gardening volume, a book of flower prints, and the sound of a firework display. The images of the colored flowers, when added to the sound of pyrotechnics, become a graphic representation of exploding buoyancy. Like in a Lewis Klahr film, the images appear to collage a story-driven narration. There is motion created by the succession of cuts, and by the hand-handled camera movements so essential to Schwartz’s style–allowing a non-aggressive, handcrafted, and detail-oriented approach to the world. Movement is more essential than any possible tale. The camera follows the shape of printed instructions, drawing verses in the air. The vivid texture and colors of these images transform the ink into trails of meaning, ways to translate inner subtleties into corporeal nature. – Monica Saviron
For Them Ending
The Wedding Present
Jonathan Schwartz
It's an ironically dark response to its title. It pictures an oversaturated, white and blue stop motion animation of the double image of a man jumping into a river, holding his nose before the final splash. A bug appears for less than a second, making an almost subliminal connection. The act of falling becomes a figurative abstraction, while the entire image gets transformed into dark blue obscurity. -Monica Savirón
The Wedding Present
90 Years
Jonathan Schwartz
Refers to Schwartz’s grandfather-in-law’s age during the making of the film–an anniversary celebrated with the gift of piloting a U.S. army light aircraft, the kind he used to maneuver in the Second World War. While he rises and falls, watched by the impassive but attentive look of a woman who could be his wife, he is the protagonist of a flight into the past. Again, there is tension emphasized by an impending sound in crescendo, this time the one of the jet engine. This jump into the void is a recurrent creative preoccupation that might refer to distance, wounds, and risks.
90 Years
New Year Sun
Jonathan Schwartz
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 Savirón
New Year Sun
Den of Tigers
Jonathan Schwartz
Den of Tigers (2002), by Jonathan Schwartz, lyrically examined the subtle textures of daily life in West Bengal, India. There you could see ankles lifting up and back down into a flooded street, a small ancient woman pushing on the arm of a water pump, and the hypnotic swinging of a young tightrope walkers hips, the image as taut as the narrow rope pressed to her feet. – Genevieve Yue
Den of Tigers
Bat El Drinking Water and Other Signs
Jonathan Schwartz
(Maybe) of finding neutral signs in a non-neutral place while tension sits, increases, is shared, builds, or possibly lessens–or maybe is placed elsewhere for a while. Some birds move easily across, from above. You can hear them all over and the breeze that follows feels important. It comes when it wants, breaks up a heat, pauses something, and interrupts without being seen.
Bat El Drinking Water and Other Signs
A Mystery Inside of a Fact
Jonathan Schwartz
It arrives, in a fog, with songs, through dance or majestic animals or faces (gliding on the street), and in shapes of light, maybe on a large bird of prey in flight - gesture skyward. Some origins can be difficult to pinpoint, others blink back - infinitely.
A Mystery Inside of a Fact
