Oops, we’re really back to psychedelic! After the boring atmosphere of El Doctor, Pitt officially says okay, I’m here, continue psychedelics. It is quite different and impressive with its black and white format. The film runs on a grainy, old 16mm image. Being in black and white makes it feel more uncanny, dreamier and like an older subconscious recording. Instead of colorful psychedelic explosions, this time there is a dark, foggy, twilight atmosphere.
A complete “outer-world night” atmosphere. Alchemic experiments, souls entering and exiting bodies, the life-death cycle, a mythical eternity… Souls wandering in women’s bodies, spirals, transformations, a journey through elements such as fire, metal and air. The scenes flow into each other with dream logic. One soul leaves the body, another enters. Everything is fluid, uncertain and strange. On the symbolism side, the choice of black and white is very accurate.
Instead of the vibrant chaos of color films, there’s a darker, more esoteric psychedelia here. Spirals, elements, body-soul relationship… It tells about the effort to manipulate existence, the transience of the body and a beautiful but painful eternity. This time, the mask and identity fluidity hits directly with the souls changing bodies. It was a breath of fresh air after El Doctor’s heavy dialogues. Its rhythm is more fluid, its visual language is stronger.
It also seems close to Maya Deren’s dream poem. A dark but fascinating, eerie but absorbing movie. Pinball Review is Pitt’s last animated film and was an energetic end to the marathon. This short, only 7 minutes long, is completely abstract and crazy. The film is based on the music of George Antheil’s “Ballet Mécanique”. Pitt moves hundreds of abstract paintings he draws with a digital camera and combines them with fast editing.
Images that bounce, crash, spin like a pinball machine… Grotesque creatures slowly emerge, forms melt, colors collide, everything dances in mechanical chaos. Symbolism and approach There is no classic story here. There is a complete play of rhythm, time and abstract imagery. As Pitt himself said: A flying saucer lands in your yard, does its stunt, and leaves. It combines mechanical ballet with organic chaos. The visual poetry in Asparagus has transformed into a faster, more aggressive and more modern version here.
Psychedelicism is in full swing, but this time it’s more rhythmic and mechanical. Since it is short, its effect is very intense and sudden. While watching, it suddenly ends, leaving behind striking images, music and that strange energy. Overall, Visitation with its dark esoteric side and Pinball with its fast abstract energy summarize Pitt’s last period well. Both Pitts are still fit after the fall of El Doctor. There were things worthy of the end of the marathon.
End of the Suzan Pitt Marathon We started with Asparagus and hit the top, went through short early trials, experienced the emotional peak with Joy Street, saw a slight decline in El Doctor, and returned to our psychedelic roots with Visitation and Pinball. Pitt’s world is full of masks, plants, dreams, spirits, transformations and disturbing beauty. Sometimes it flows like a visual poem, sometimes it disturbs you, sometimes it takes you on a psychedelic baptism in the forest with an unexpected mouse figurine.
Maya Deren’s spirit is always there, but most importantly, she is an artist who has charted her own path and is unlike anyone else. In short, this marathon showed me once again that Pitt does not just make animations, he is a poet and visual wizard wandering deep into his subconscious. Sometimes difficult to watch, sometimes fascinating, but definitely unforgettable. The marathon is over. What did Jim Morrison say, “this is the end my only friend the end”.
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