Tonight's event will include a double bill of Everson's eclipse films plus an exclusive vinyl pre-release of composer David Dominique's score for When the Sun Is Eaten.
Program:
When the Sun Is Eaten (Chi’bal K’iin) (Dir. Kevin Jerome Everson, 2025, 36 min)
The highlight of this year's Berlinale Forum Expanded, Kevin Jerome Everson's new medium-length film is about one-hundred-percent totality in three time zones—Mazatlán, Mexico; Carbondale, Illinois; and Cleveland, Ohio—on the occasion of the solar eclipse across parts of North America, April 8, 2024. The title is the Mayan translation of the phenomenon of the solar eclipse. Shot with multiple cameras in Super 8 and 16mm, in black and white and color, the film is the latest in a series of works featuring solar and lunar eclipses. Featuring original music by composer David Dominique; exclusive vinyl copies of the score will be available to purchase at the screening.
Preceded by:
Polly Two (Dir. Kevin Jerome Everson, 2018, 12 min)
A study in 99 percent totality filmed during the 2017 eclipse.
TRT: 48 min
In person: Kevin Jerome Everson and David Dominique
Poster: ©Kevin Jerome Everson; courtesy the artist; trilobite-arts DAC; Picture Palace Pictures
Films appear courtesy the artist and Picture Palace Pictures
"A prolific artist best known for his quotidian films documenting contemporary social narratives, Everson’s Polly [films] embody the poetic equivalencies of prior filmic fables, but denote an experiential consideration unburdened by social claims of past works." —Audrey Molloy, The Rib
"Kevin Jerome Everson's distinctive visual language meditatively portrays moments of darkness uniting communities separated by geography and culture. His contemplative silence transforms into acts of solidarity, memory, and witnessing, inviting reflection on how cosmic phenomena shape collective consciousness and experience—grounding the universal in intimate encounters." —DMZ Documentary Festival
"Every image [in Polly Two] reflects a specific viewpoint and a particular viewing apparatus, whether it’s the camera or the human eye. Not just the differences in film stock, but the nature of film itself determine the character of these images; lens flares and light bleed form part of their beauty, but are, of course, products of the medium and not what it observes." —Alex Fields, InReviewOnline
(Available to download after screening date)