KEVIN JEROME EVERSON

KEVIN JEROME EVERSON

CRÍTICAS

CROSSROADS 2022. PROGRAMA 8: DIVISIONES DEL TRABAJO

Por Pablo Gamba

El programa 8 del festival Crossroads de la Cinemateca de San Francisco, titulado “Divisiones del trabajo” (Divisons of Labor), reúne nueve piezas que trabajan la materialidad del cine puesta en relación con temas como el colonialismo, el racismo y la memoria. Incluye dos estrenos, Light Signal, de Emily Chao, y Patent 1,571,148, de Kevin Jerome Everson, y se destaca también Singing in Oblivion, de Eve Heller.

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Crossroads

CROSSROADS 202O: ALL THOSE THINGS YOU USED TO FEEL

By José Sarmiento Hinojosa

I’ve been trying to articulate a coherent piece after watching program 4 of Crossroads Film Festival, a creature guided by the acute intuition of filmmaker Steve Polta. It occurs to me, somehow, that a man of such artistic caliber might be one of the most appropriate people to curate a program as extensive and rich in interactions.

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CRÍTICAS

CROSSROADS 2020.PROGRAM 4. TODAS LAS COSAS QUE SOLÍAS SENTIR

Por José Sarmiento

Crossroads es uno de los pocos festivales experimentales donde la relación entre el curador y el artista se convierte en parte de una narrativa más grande, donde la programación se suma a un mayor conocimiento, un campo más grande, algo que puede ser aprehendido por un alma sensible.

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Berlinale

BERLINALE 2020’S FORUM EXPANDED: RECOVERY, EQUINOX, THE PHANTOM MENACE

By Mónica Delgado

In program 9 of this edition of Forum expanded, three short films were shown that from their peculiarities, could confront a current panorama of conceptual proposals. From a variety of supports and aesthetics, they keep a tradition not only with the so-called “structural cinema” but also between them, creating a sort of correspondence among the works. What could have in common a short film in 16mm, in black and white, which describes a bureaucratic process from the perspective of the body, or a camera-less work in 70mm that only has one apparent field of color variations? Or the digital baroque proposal of Graeme Arnfield?

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Berlinale

BERLINALE 2020: FORUM EXPANDED CON RECOVERY, EQUINOX Y THE PHANTOM MENACE

Por Mónica Delgado

En el programa 9 de esta edición de Forum, se presentaron tres cortometrajes que desde sus peculiaridades, pudieron conformar un panorama actual de propuestas conceptuales, desde una diversidad de estéticas y soportes, mantienen una tradición no solo con el llamado “cine estructural”, sino que al juntarlas logran una negociación o correspondencias entre ellas.

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Crossroads

CROSSROADS 2019, PROGRAM 3: OTHER VOICES, OTHER ROOMS

By Wilmer Zumarán

The films of the Program 3, Other voices other rooms, of the Crossroads Film Festival 2019 are very heterogeneous among them. However, they have as a common denominator a particular position on the look, the image, the representation. These are films that impose a way of seeing cinema that works in turn as a political stance against the hegemonic gaze. They are films that seek to denaturalize the way we have become accustomed to feel, that question our experience.

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Film Festival Reports

TIFF 2018. WAVELENGTHS: POLLY ONE BY KEVIN JEROME JEFFERSON

By Mónica Delgado

Unlike other experimental filmmakers that have shown a fascination for the eclipse as a metaphor of the auscultation of cinematographic support in in its materiality (a reality superimposed to another, like the position of the stars), in Polly One, Kevin Jerome Everson captures the intensity itself of this phenomena of the skies to take it to the possibility to become real spectators of an event of this nature that it’s barely intervened.

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Film Festival Reports

TIFF 2017: WAVELENGTHS. BROWN AND CLEAR, BY KEVIN JEROME EVERSON

By Mónica Delgado

In Brown and Clear (2017), Kevin Jerome Everson turns again to a minimalistic style, a register that finds a support in grain and closeness as an ideal way to deepen in the details of the quotidian. Little by little, from actions that could be seen as laughable from simple sight, constructs complex significates about the workplace and the social, looking to achieve, from simplicity of resources, a whole mechanism to auscultate a hidden America.

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CRÍTICAS

TIFF 2017: WAVELENGTHS. BROWN AND CLEAR DE KEVIN JEROME EVERSON

Por Mónica Delgado

Presentada en la sección Wavelengths 2: Fluid Frontiers del Festival de Cine de Toronto, Brown and Clear (EEUU, 2017), de Kevin Jerome Everson es un cortometraje que recurre nuevamente al estilo minimalista, de registro que encuentra en el granulado y en la cercanía una manera ideal para ahondar en el detalle de lo cotidiano.

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